BEING  A SELECTION  Of 


MORE  THAN  THREE  HCSDRED  TAirABEE  RECEIPTS, 


t 


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THE 


MECHANIC’S  ASSISTANT; 

BEING 

A SELECTION  OF  VALUABLE  RECEIPTS, 

FROM  THE 

BEST  AUTHORS, 

AND 

PRACTICAL  ARTISTS  IN  EUROPE  AND  AMERICAj 

AND  CONTAINING  MANY 

PROCESSES  NEVER  BEFORE  PUBLISHED, 


BY  WALDO  TUCKER. 


WINDSOR,  VERMONT 

X837. 


Entered  according  to  Act  of  Congress,  in  the  year  1337,  by 
WALDO  TUCKER, 

in  the  Clerk’s  Office  of  the  District  Court  of  Vermont. 


ADVERTISEMENT. 


The  author  of  this  work,  has  for  a great 
length  of  time,  been  diligent  in  searching 
after  a knowledge  of  the  mechanic  arts  ; and 
has  therefore,  carefully  selected  from  a num- 
ber orEuropean  and  American  authors,  the 
most  valuable  receipts,  which  are  adapted  to 
the  various  occupations  that  this  work  is  inten- 
ded for.  The  author  has  also  been  particular, 
not  to  select  any  but  such  as  could  be  relied 
upon,  to  be  genuine  ; and  as  such,  he  feels 
willing  to  present  them  to  the  public.  Particu- 
lar care  has  been  taken,  to  make  every  direc- 
tion, and  every  proportion,  intelligible  to  every 
person.  The  principal  ingredients  are  to  be 
found  in  the  shops  of  the  druggists,  and  by 
purchasing  of  them,  and  compounding  after- 
wards, much  cost  may  be  saved. 


Certificfiies* 


Windsor,  July  1,  IS3t. 

I hereby  certify  that  the  receipt,  in  this 
book,  is  true  ; and  is  the  same  way,  I manu-^ 
facture  Patent  Leather  and  cloth. 

E.  W.  DAVIS. 

Claremont,  June  30j  1837. 

This  may  certify  that  I have  used  Patent 
Leather  so  called,  manufactured  by  E.  W. 
Davis,  and  I think  it  as  good  as  any  I ever 
used. 

LUTHER  S.  PORTER,  for 
The  Claremont  Carriage  Co. 

Windsor,  July  I,  1837. 

I certify  that  I have  used  E.  W.  Davis’ 
Patent  Leather  and  it  is  good  as  any. 

WM.  WHITE,  Harness  JMaker, 

' Windsor,  July  4,  1837. 

This  may  certify  that  I have  examined  Pa- 
tent  Leather,  manufactured  by  Mr.  E.  Win- 
chester Davis,  and  can  recommend  it  to  be 
as  good  as  any  I have  ever  examined,  of 
American  stock. 


CHARLES  INGALLS. 


A SPECIFICATION  OF  THE  OVEN  TO  DRY  PA- 
TENT LEATHER  AND  CLOTH. 


The  oven 
is  seven-feet 
long  & five 
feet  wide, 
on  the  in- 
side. A re- 
presents a 
flue  one  foot 

__  wide  &>  ten 

inches  high.  B represents  the  narrow  flues 
which  are  ten  inches  high,  and  six  inches 
wide,  that  a brick  will  reach  across.  The 
narrow  flues  are  separated  by  bricks,  set  up 
edgeways  ; they  can  be  laid  two  or  three 
high,  then  covered  over  with  tile  and  made 
level, — then  plaistered  in  the  best  manner. 
The  foundation  is  laid  with  stone  one  foot  high, 
then  made  level.  C represents  the  chimney 
which  is  two  feet  eight  inches,  by  one  foot 
eight  inches.  It  must  be  laid  ten  feet  above 


& 


ihe  roof.  D represents  the  brick  work  winch 
is  carried  up  one  foot  and  eight  inches,  after 
the  ovens  are  covered  over : then  there  are 
timbers  put  on,  3 by  3 ; then  timbers  to  stand 
upon  those  2 by  3,  and  eight  feet  long,  to  board 
on,  except  in  the  fronts  there  will  be  only  one. 
The  ovens  are  boarded  up  with  good  smooth 
boards  over  head,  and  all  excepting  the  front 
part,  which  will  be,  after  one  board  at  the  bot- 
tom, eight  inches  high  ; narrow  horizontal 
doors.  There  are  cleats  nailed  on  the  inside 
of  the  ovens  at  each  end,  two  inches  wide, 
leaving  one  inch  and  a half  between,  for  the 
frames  to^slide  on.  There  are  twenty  places  for 
those,  so  that  you  may  dry  twenty  pieces  sep- 
arately, at  each  time.  The  leather  is  shaved, 
scoured  and  set  out  smooth  on  the  grane,  with- 
out any  oil.  Then,  before  the  leather  gets 
quite  dry,  it  is  stretched  on  the  frames  by 
means  of  straps  and  nails,  so  that  it  will  be 
completely  level  after  it  becomes  dry.  It  is 
the  best  finished  on  the  flesh  side.  The  tacks 
Used  for  heavy  sides  of  leather  are  No.  14 ; 
light  skins,  No.  8.  You  will  understand,  the 
oven  after  it  is  covered  over,  must  be  two  feet 
below  the  floor.  The  doors  will  swing  down, 
and  not  have  but  one  door  down  at  a time. 

DIRECTIONS  FOR  FINISHING  JAPPAN  OR  PATENT 
LEATHER. 

After  the  leather  is  dried  on  the  frames,  give 
it  aeoat  ofthe  varnish,  with  a large  brush. — 


The  first  coat  of  varnish  must  have  one  half 
pound  lampblack  to  one  gallon  of  the  varnish, 
well  stirred  in,  and  it  will  do  to  put  on,  as  soon 
as  cold ; or  if  it  should  be  cold  weather,  it 
ought  to  be  put  on,  about  milk  warm.  As  fast 
as  one  coat  dries,  draw  your  frames  out  of  the 
oven  and  put  on  another  coat ; and  so  contin- 
ue with  the  same  varnish  until  you  get  a good 
surface,  which  will  take  from  two  to  five  coats. 
When  the  last  coat  is  dry,  scrape  it  down 
smooth  with  a pretty  sharp  scouring  iron,  in 
order  to  prepare  it  for  the  finishing  varnish. 
Then  give  it  a coat  lightly  put  on,  of  the  finish- 
ing varnish  ; let  it  lie  in  the  oven  until  perfectly 
dry  ; then  take  it  out  as  before  observed,  and 
there  will  small  pimples  arise,  which  must  all 
be  cut  off  with  your  iron  ; then  give  it  a heavy 
coat,  so  that  it  will  float  all  over  it ; then  give 
it  as  much  heat  as  it  will  bear.  You  will  raise 
the  heat  to  near  160  degrees,  and  continue  it 
so,  from  ten  to  twelve  hours  tlien  let  it  be  in 
the  sun  from  two  to  six  days.  When  the  fii> 
ishing  coats  are  applied,  your  room  ought  to 
be  perfectly  clean  so  that  not  any  dust  may 
stick  to  the  coating  when  dryingo  Cloth  may 
be  finished  in  the  same  way,  by  confining  on 
the  frames ; the  cloth  being  stretched  on  the 
frames,  size  it  with  the  following  size — one 
quart  flax  seed  boiled  in  a bag,  for  four  hours, 
in  two  gallons  water  ; then  take  out  your  flax 
seed  and  add  from  one  to  two  quarts  soft  soap, 
stir  it  well  together;  put  it  on  with  a brush 
and  dry  it ; then  put  on  a coat  of  the  first  men- 


8 


tioned  varnish  let  it  dry  ; then  coat  it  onco 
more  with  the  same  varnish ; scrape  it  down 
if  necessary  ; then  give  it  one  coat  of  the  fin- 
ishing varnish,  that  will  float  all  over  it ; then 
dry  it  in  the  same  way  as  the  last  coat  on  the 
leather.  Horse  hide,  Calfskins  and  all  kinds 
of  skins  may  be  finished  in  the  same  way. — 
Any  kind  of  cotton  or  linen  cloth,  may  be  fin- 
ished in  this  way,  and  maybe  painted  or  gilded 
for  table  spreads,*  and  will  stand  against  boil- 
ing water  and  soap.  Cloth  may  be  dried  on 
a small  scale  without  the  expense  of  a large 
oven,  and  may  be  afforded  as  cheap  as  the 
common  oil-spreads  for  tables. 

VARNISH  FOR  PATENT  LEATHER,  AND  CLOTH. 

One  gallon  linseed  oil,  two  ounces  Sal  amo- 
niac,  one  pound  Asphaltum,  four  ounces  Tur- 
key umber,  ground  fine ; boil  it  together, 
beginning  with  a moderate  heat,  until  it  be- 
comes united,  stirring  until  you  raise  the  heat 
to  that  degree  it  is  finished ; which  will  take 
from  five  to  six  hours,  it  must  be  boiled  until 
it  will  adhere  to  your  finger  ; after  being  boiled 
sufficient  take  it  off  and  stir  it  until  cold  ; then 
add  two  gallons  of  spirits  turpentine  ; then  let 
it  stand  until  cold  and  settled. 

The  above  has  been  used  with  good  success 
and  considered  to  be  the  best  for  leather  and 
cloth  ; likewise  for  varnishing  all  kinds  of  dark 
painted  ’work,  such  as  carriages,  chairs,  &.c. 
The  following  has  been  used — one  gallon  lin- 


9 


seed  oil,  one  pound  Asplialtiim,  lour  ounces 
resin,  four  ounces  sugar  of  lead,  four  ounces 
litharge,  two  ounces  red  lead  ; put  in  your  li- 
tharge, red  lead,  and  resin,  then  heat  it  until 
it  boils  ; then  add  the  Asphaltum  ; boil  it  two 
hours;  raise  the  heat  until  it  is  thick  enough 
for  use.  If  it  is  too  thick,  thin  it  with  spirits 
of  turpentine.  If  leather  or  cloth  is  finished 
by  the  last  method,  the  cloth  must  be  sized  as 
before  mentioned,  and  in  order  to  give  it  a 
black  colour,  take  one  gallon  of  boiled  oil,  from 
two  to  four  ounces  of  red  lead,  two  quarts  of 
soap,  one  ounce  of  lamp  black,  whiting  suffi- 
cient to  make  a body  and  give  it  two  Goats.> 

FAT  OIL  VARNISH. 

Fixed,  or  fat  oil  will  not  evaporate;  nor 
will  it  become  dry  of  itself.  To  make  it  dry  it 
must  be  boiled  with  metalic  oxides.  Litharge 
is  generally  used  forthis  purpose.  Oil  so  pre- 
pared, is  called  drying  oil.  To  accelerate  the 
drying  of  oil  varnish,  oil  of  turpentine  is  used. 
Gum  copal  and  amber  are  the  substances  prin- 
cipally employed  in  oil  varnishes,  the  copal 
being  whitest  is  used  for  varnishing  light,  the 
amber  for  dark  colours.  It  is  best  to  dissolve 
them  before  mixing  tvith  the  oil,  because  by 
this  means,  they  are  in  less  danger  of  being 
scorched,  and  at  the  same  time,  the  varnish  is 
more  beautiful.  They  should  be  melted  in  an 
iron  pot,  over  the  fire,  and  are  in  a proper 
state  for  receiving  the  oil  when  they  give  no 


10 


resistance  to  the  iron  spattula,  and  when  they 
run  off  from  it,  drop  by  drop. 

TO  MAKE  OIL  VARNISH. 

Pour  four,  six,  or  eight  ounces  of  drying  oil 
among  sixteen  ounces  of  melted  copal  or  am- 
ber, by  little  and  little,  constantly  stirring  the 
ingredients,  at  the  same  time  with  spattula. — 
When  the  oil  is  well  mixed  with  the  copal  or 
amber,  take  it  off  the  fire,  and  when  it  is  pretty 
cool,  pour, in  sixteen  ounces  of  the  essence  of 
Venice  turpentine.  After  the  varnish  is  made, 
it  should  be  passed  through  a linen  cloth.  Oil 
varnishes  become  thick  by  keeping,  but  when 
they  are  to  be  used,  it  is  only  necessary  to  pour 
in  a little  Venice  turpentine,  and  to  put  them 
a little  on  the  fire.  Less  terpentine  is  neces- 
sary in  summer  than  in  winter  ; too  much  oil 
hinders  the  varnish  from  drying,  but  when  too 
little  is  used,  it  cracks  and  does  not  spread 
properly. 

BLACK  VARNISHES  FOR  COACHES  AND  IRON  W’ORK. 

This  varnish  is  composed  of  asphaltum,  re- 
sin, and  amber,  melted  separately,  and  after- 
ward mixed  ; the  oil  is  then  added,  and  after- 
wards, the  turpentine  as  directed  above.  The 
usual  proportions  are  twelve  ounces  of  amber, 
two  of  Asphaltum,  six  of  oil,  and  twelve  of  tur- 
pentine. 


11 


A VARNISH  FOR  RENDERING  BILK,  WATER  AND 
AIR-TIGHT. 

I To  render  the  linseed  oil  drying,  boil  it  with 
I two  ounces  of  sugar  of  lead,  and  three  ounces 
i of  litharge,  for  every  pint  of  oil,  till  the  oil  has 
I dissolved  them  ; then  put  a pound  of  bird  lime, 

I and  half  a pint  of  the  drying  oil  into  a pot  of 
i iron  or  copper,  holding  about  a gallon,  and  let 
it  boil  gently  over  a slow  charcoal  fire  till  the 
bird  lime  ceases  to  crackle  : then  pour  upon  it 
two  pints  and  a half  of  drying  oil,  and  boil  it 
for  about  an  hour  longer  ; stir  it  often  with  an 
iron  or  wooden  spattula.  As  the  varnish  in 
boiling  swells  much,  the  pot  should  be  removed 
from  the  fire  and  replaced  when  the  varnish 
subsides.  While  it  is  boiling  it  should  be  oc- 
casionally examined  in  order  to  determine 
whether  it  is  boiled  enough.  For  this  purpose, 
take  some  of  it  upon  the  blade  of  a large  knife, 
and  after  rubbing  the  blade  of  another  knife 
upon  it,  separate  the  knives,  and  when  on  their 
separation,  the  varnish  begins  to  form  threads 
between  the  two  knives,  it  has  boiled  enough, 
and  should  be  removed  from  the  fire.  When 
it  is  almost  cold,  add  about  an  equal  quan- 
tity of  spirits  of  turpentine ; mix  both  well 
together,  and  let  the  mass  rest,  till  the  next 
day  ; then  having  warmed  it  a little,  strain  and 
bottle  it.  If  it  is  too  thick,  add  spirits  turpen- 
tine. This  varnish  should  be  laid  upon  the 
stuff,  when  perfectly  dry,  in  a lukewarm  state, 
a thin  coat  of  it  upon  one  side,  and  about 


u 


tvyelve  hours  after,  two  other  coats  should  be 
laid  on,  one  on  each  side  ; and  in  twenty  four 
hours  the  silk  may  be  used. 

TO  MAKE  CLOTH^  WATER  AND  AIR  TIGHT. 

Dissolve  India  rubber,  cut  small,  in  five 
times  its  weight  of  spirits  turpentine,  by  keep- 
ing some  days  together  ; then  boil  one  ounce 
of  this  solution,  in  eight  ounces  of  drying  lin- 
seed oil,  for  a few  minutes,  and  strain  it.  Use 
it  warm.  If  you  wish  the  cloth  black,  common 
black  paint  will  answer,  or  you  may  mix  lamp 
black  with  the  above. 

ESSENTIAL  OIL  VARNISH. 

The  essential  oil  varnish  consists  of  a so- 
lution of  resin,  in  oil  of  turpentine,  or  other 
essential  oil.  This  varnish  being  applied,  the 
turpentine  evaporates,  leaving  the  resin  be- 
hind. It  is  commonly  used  for  pictures. 

WHITE  ELASTIC  VARNISH. 

One  quart  of  Dutch  oil,  two  ounces  of  white 
lead,  one  and  a half  ounces  sugar  lead,  put  it 
into  a tin  pan,  stir  it  well,  let  it  stand  in  the  sun, 
until  it  becomes  settled  and  as  thick  as  tar  ; 
then  add  spirits  of  turpentine  to  thin  it,  fit  for 
use.  This  makes  a beautiful  varnish  for  maps 
and  charts,  and  will  not  fade.  The  paper  must 
be  first  sized  with  gum  Tragencanth  dissolved 


i8 

in  water,  and  the  size  put  on  with  a clean 
sponge. 

VARNISH  FOR  TIN. 

One  gallon  Dutch  oil,  four  ounces  Turkey 
umber,  four  ounces  gum  shellac,  one  ounce 
dragon’s  blood,  boiled  well  together  ; let  it  get 
nearly  cold,  then  add  two  gallons  spirits  tur- 
pentine. 

VARNISH  FOR  LEATHER. 

Dissolve  one  ounce  of  India  rubber,  cut 
small,  in  one  pint  of  neats  feet  oil,  one  half 
pound  gum  shellac,  dissolved  in  one  pint  alco- 
hol ; mix  them  well  together,  add  two  ounces 
Ivory  black,  and  let  them  stand  in  a warm 
heat,  for  two  days,  and  it  is  fit  for  use — to  be 
I put  on  with  a soft  brush. 

VARNISH  FOR  BOOTS*  AND  SHOES. 

Take  three  ounces  spermacitti,  and  melt  it 
in  an  earthern  vessel,  over  a slow  fire.  Add 
to  it,  six  drachms  of  India  rubber,  cut  into 
' thin  slices,  and  it  will  presently  dissolve,  then 
I add  half  a pound  of  tallow,  two  ounces  hog’s 
lard,  and  four  ounces  amber  varnish  ; put  on 
three  coats  with  a common  brush.  This  prep- 
aration renders  the  leather  impervious  to  wa- 
ter, and  leaves  a fine  polish.  Add  two  ounces 
of  lampblack,  and  it  makes  the  best  composi- 
tion for  harness  leather, 
o 


Tv  ATER  PKOOr  EODTS  AND  SHOES. 

The  following  method  of  preparing  water 
proof  leather,  at  a very  small  expense,  will  be 
found  invariably  to  succeed.  Take  one  pint 
of  drying  oil,  two  ounces  yellow  wax,  two  oun- 
ces spirits  turpentine,  and  one  ounce  burgundy 
pitch,  melted  over  a slow  fire  ; with  this  com- 
position, new^  shoes  and  boots  are  to  be  rubbed, 
at  a small  distance  from  the  fire,  with  a sponge, 
as  often  as  they  become  dry,  until  they  are  ful- 
ly saturated  ; the  leather  then  is  impervious 
to  wet ; the  shoes  and  boots  last  much  longer* 
acquire  softness  and  pliability,  and  thus  pre- 
pared, are  the  most  effectual  preservation 
against  colds  and  chilblains. 

FRESCO  PAINTING. 

Before  you  begin  to  paint,  it  is  necessary  to 
apply  two  layers  of  stucco  on  the  place  where 
your  work  is  to  be  executed ; if  you  are  to 
paint  on  a wall  of  brick,  the  first  layer  is  easily 
applied;  if  of  free  stone  closely  joined,  it  is 
necessary  to  make  excavations  in  the  stone  and 
to  drive  in  nails  or  pegs  of  wood,  in  order  to 
hold  the  layers  together.  The  first  layer  is 
made  of  good  lime  and  a cement  of  pounded 
brick,  or  which  is  better,  river  sand,  w’hich  lat- 
ter forms  a layer  more  uneven  and  better  fitted 
to  attach  the  second  smooth  layer  to  its  sur- 
face. Before  applying  the  second  layer  on 
which  you  are  to  paint ; the  first  should  be 
perfectly  dry.  When  the  first  layer  is  per- 


15 


fectly  dry,  wet  it  again  with  water  in  pro- 
portion to  its  dryness,  that  the  seeond  layer 
may  more  easily  incorporate  with  it.  The 
second  layer  is  composed  of  lime  slacked  in 
the  air,  and  exposed  for  a whole  year,  and  of 
river  sand  of  an  equal  grain  and  moderately 
line.  The  surface  of  thissecond,  must  be  uni- 
formly even.  It  is  laid  on  with  a trowel,  and 
the  workman  is  provided  with  a small  piece  of 
w ood  to  remove  the  large  grains  of  sand.  To 
give  a fine  polish  to  this  surface,  a sheet  of  pa- 
per should  be  applied  on  it,  and  the  trowel 
passed  and  repassed  over  the  paper.  The 
workman  must  not  extend  the  layer  over  a 
greater  space  than  the  painter  is  able  to  finish 
in  a day  ; as  it  is  necessary  the  ground  should 
always  be  fresh  and  moist  under  his  pencil. — 
The  ground  being  thus  prepared,  the  painter 
begins  his  work  ; but  as  painting  in  fresco  must 
be  executed  rapidly,  and  as  there  is  not  time 
to  retouch  any  of  the  strokes  of  the  brush  with 
good  effect,  he  will  first  provide  himself  with 
a large  finished  drawing  in  chalk,  or  paintings 
in  distemper,  of  the. same  size  as  the  W'ork 
which  he  has  to  paint,  so  that  he  shall  have 
only  to  copy  these  drawings  on  the  -wall. — 
These  drawings  are  generally  made  on  large 
sheets  of  paper  pasted  together,  generally 
termed  cartoons.  The  painter  traces  the  out- 
lines of  the  figures  on  the  plaster,  by  passing 
a steel  point  over  them,  or  pricking  them  close- 
ly and  passing  very  finely  powdered  charcoal 
through  the  prickled  holes.  He  then  proceeds 


1(3 


to  the  completion  of  his  work,  having  his  chief 
tints  ready  prepared  in  separate  earthern  pots, 
and  generally  first  trying  their  effect  on  a dry 
smooth  tile,  which  quickly  imbibes  their  moist- 
ure and  discovers  the  hue  which  they  will  have 
on  the  wall.  All  natural  earths  are  good  for 
painting  in  fresco.  The  colours  are  ground 
and  tempered  in  water.  It  is  to  be  remarked 
that  all  the  colours  used  in  this  method  of 
painting,  brighten  as  they  grow  dry,  except 
the  red  varnish,  the  brownish  red  ochre,  ruth 
ochre,  and  the  blacks,  particularly  those  that 
are  passed  through  the  fire.  The  best  colours 
are  white,  made  of  old  lime,  and  white  marble 
dust,  (the  proportional  quantity  of  the  latter 
depends  on  the  quality  of  the  lime,  and  must 
be  found  by  tiial,  as  too  great  a quantity  of 
marble  dust  will  turn  the  colour  black)  ultra 
marine  blue,  the  black  of  charcoal,  yellow 
ochre,  burnt  vitrol,  red  earth,  green  of  Verona, 
black  and  burnt  ochre.  Other  colours  which 
require  to  be  used  with  greater  precaution,  are 
enamel  blue,  and  cinnabar.  Enamel  blue  must 
be  applied  instantaneously  and  while  the  lime 
is  very  moist,  otherwise,  it  will  not  incorpo- 
rate ; and  if  you  retouch  with  it,  you  must  do 
it  an  hour  or  more  after  the  first  application 
of  it,  in  order  to  increase  its  lustre.  Cinnabar 
has  a splendour,  almost  beyond  all  other  col- 
ours, but  it  loses  it  when  mixed  with  lime.  It 
may  however  be  employed  in  places  not  ex- 
posed to  the  air,  if  proper  care  is  used  in  pre- 
paring it.  For  this  purpose  reduce  a quantit  v 


of  the  purest  cinnabar  to  powder,  put  it  into  ail- 
earthern  vessel  and  pour  lime  water  on  it  two 
or  three  times.  By  this  process,  the  cinnabar 
receives  some  impression  from  the  lime  water, 
and  you  may  then  use  it  with  greater  safety. 
The  Avhiteoflime  is  formed  by  mixing  lime, 
slaked  a long  time  before,  with  good  water. — 
The  lime  deposites  a sediment  at  the  bottom 
of  the  vessel.  When  the  water  is  poured  off 
this  sediment  is  the  Avhite  of  lime.  Another 
kind  of  white  may  likeAAuse  be  made  from  egg 
shells,  pounded  in  quantities  and  boiled  in  Ava- 
ter,  together  Avith  quick  lime,  and  afterwards 
put  into  a strainer  and  Avashed  repeatedly  Avitli 
spring  Avater.  The  shells  must  be  again  poun- 
ded until  the  Avatcr  employed  for  that  purpose 
becomes  pure  and  limpid  ; and  Avhen  the  shells 
are  completely  reduced  to  powder,  they  are 
ground  in  Avater,  made  up  in  small  pieces  and 
dried  in  the  sun.  The  effect  of  this  colour 
must  be  ascertained  by  experiment.  Ochres  of 
all  kinds,  make  good  colours  for  fresco,  being 
previously  burnt  in  iron  boxes.  Naples  yelloAV 
is  dangerous  to  be  used,  when  the  painting  is 
much  exposed  to  the  air.  Blacks,  from  char- 
coal, peach  stones,  and  vine  tAvigs,  are  good. 
There  is  another  used — it  is  made  of  the  lees 
of  burnt  Avine.  Roman  vitrol  gathered  at  the 
furnaces,  and  called  burnt  vitrol,  being  after- 
wards ground  in  s))irits  of  wine,  resists  the  air 
extremely  Avell.  There  is  also  a red  extract 
from  this  preparation,  somewhat  like  that  ol 
lac.  This  colour  is  a good  preparation  for  the 


layers,  where  cinnabar  is  afterward  to  be  used^ 
Draperies,  painted  with  these  colours,  are  as 
bright  as  fine  lac  used  with  oil.  tFltra  marine 
never  changes  and  seems  to  communicate  its 
permanent  quality  to  the  colours  with  which  it 
is  mixed.  Fresco  painting  is  performed  wfith 
colours  diluted  in  water,  with  which  they  in- 
corporate, and  are  sometimes  as  dural:(le  as  the 
stucco  itself. 

PRINCIPAL  COLOURS  FROM  WHICH  ALL  THE  TINTS 
ARE  MADE,  AND  THEIR  QUALITIES  IN  PAINTING 
WITH  OIL. 

Flake  white  is  the  best  white  known.  This 
colour  should  be  ground  with  the  whitest  pop- 
py oil  that  can  be  procrn  ed  ; it  is  often  found 
to  turn  yellow,  on  account  of  the  oil  generally 
sold  by  that  name  not  being  really  drawn  from 
poppies.  It  is  the  nature  of  all  whites  to  sink 
into  whatever  ground  they  are  laid  on,  there- 
fore, they  should  be  laid  on  "white  grounds. — ■ 
Ivory  black  is  the  best  black,  tt  is  a colour 
which  mixes  kindly  with  all  the  others.  It  is 
the  true  shade  for  blue,  and  when  mixed  with 
a little  Indian  red,  it  is  the  best  shadow  colour 
that  can  be  used  ; it  is  generally  ground  with 
linseed  oil  and  used  with  drying  oil.  Ultra- 
marine  is  the  finest  blue  in  the  world  ; it  is  a 
tender,  retiring  colour,  and  never  glares,  and 
is  a beautiful  glazing  colour.  It  is  used  with 
poppy  oil.  Prussian  blue  is  a very  fine  blue, 
and  a kind  working  colour^  Tt  is  ground  with 


rinsced  oil,  tbough  nut  oil  is  best.  Ligiit  ochre 
is  a good  mixing  colour;  it  is  usually  ground 
with  linseed  oil.  All  yellows  are  strengthened 
with  red,  and  weakened  with  blues  and  greens. 
Light  red  is  nothing  but  fine  light  ochre  burnt. 
This  and  white,  in  mixing,  produce  almost 
perfect  flesh  colour.  It  is  a beautiful  clean 
colour,  but  too  strong  for  the  white,  and  there-’ 
fore,  will  grow  darker  ; it  should  be  ground 
and  used  with  nut  oil.  No  vermilion  but  what 
is  made  of  the  true  native  cinnabar,  should  be 
used.  It  is  ground  with  linseed  oil,  and  should 
be  used  with  drying  oil.  Carmine  is  the  most 
beautiful  crimson  ; it  is  a middling  colour  be- 
tween lake  and  vermilion,  is  a fine  working 
colour,  and  glazes  well.  It  should  be  ground 
with  nut  oil  and  used  with  drying  oil.  Lake  is 
a tender,  deep  red,  but  of  no  strong  body, 
therefore,  it  should  be  strengthened  with  In- 
dian red.  It  is  the  best  glazing  colour  that 
can  be  used  ; it  is  ground  with  linseed  oil,  and 
used  with  drying  oil. 

Indian  red  is  a strong,  pleasant  working 
colour,  but  will  not  glaze  well  and  when  mixed 
with  white,  fafls  a little  into  lead  ; it  is  ground 
and  used  as  the  lake.  Brown  pink  is  a fine, 
glazing  colour,  but  of  no  strong  body.  In  gla- 
zing the  shadows,  it  should  be  laid  before  the 
other  colours  that  are  to  enrich  it ; it  is  one  of 
the  finishing  colours,  and  therefore,  should 
never  be  used  in  the  first  painting.  It  is 
strengthened  with  burnt  umber,  and  weakened 
with  terrevente,  ground  with  linseed  oil  and 


li'sed  with  drying  oil.  Buriit  uuibcr  is  a line, 
warm  brown  and  a good  working  colour,  and 
mixes  linely  with  the  warm  shade. 

WHITE  SATIN. 

All  whites  should  be  painted  on  white 
grounds  laid  with  a good  body  of  colour,  be- 
cause this  colour  sinks  more  into  the  ground 
than  any  other.  There  are  four  degrees  of 
colours  in  the  first  lay,  to  white  satin.  The 
first,  is  the  fine  white  for  the  lights.  The  sec- 
ond, is  the  first  tint,  which  is  made  of  a fine 
white,  and  a little  ivory  black,  mixed  to  an  ex- 
act middle  degr^,  between  the  white  and  mid- 
dle tint.  This  colour  follows  the  white  and  it 
is  with  this,  you  should  shape  the  lights  into 
character,  before  you  laymen  any  other;  and 
take  care  that  this  first  tint  appears  distinctly 
between  the  white  and  middle  tint;  otherwise, 
the  beauty  and  the  character  of  the  satin,  will 
be  spoiled. — -The  middle  tint  should  be  made 
of  white,  black,  and  a little  Indian  red.  These 
three  colours  are  very  friendl3^  and  mix  to  a 
beautiful,  clear  colour  of  a pearly  hue,  which 
has  the  true  brightness  and  warmth  of  the  gen- 
eral hue  of  the  satin.  Remember  to  allow  for 
the  red  hue,  changing  a little  to  the  lead.  If 
there  is  occasion  to  make  any  part  in  the  mid- 
dle tint  lighter,  do  with  the  first  tint  only. — 
This  colour  should  also  be  laid  sparingly,  be- 
fore the  white,  in  all  the  little  lights  that  hap- 
pen in  the  middle  tints  and  shadows,  on  which 


2t 


i you  should  lay  the  white  with  one  little  touch, 
and  be  sure  not  to  cover  all  the  parts  that  were 
made  with  the  first  tint ; if  you  do,  it  will  spoil 
1 the  character  and  look  like  a spot,  for  want  of 
1 the  softening  edge  or  border  which  must  be 
I between  the  white  and  middle  tint.  The  shade 
tint  should  be  made  of  the  same  colour  as  the 
; middle  tint,  but  with  less  w4iite,  so  that  it  is 
I dark  enough  for  the  shadows  in  general,  v/ith 
! which,  make  out  all  the  parts  of  the  shadows 
' nicely  to  character,  which  is  the  work  of  the 
first  lay.  Next  follow  the  reflects  and  finish- 
ing tints.  Brown  ochre,  mixed  with  the  colour 
of  the  light,  is  the  most  useful  colour,  in  gene- 
ral, for  all  reflects  in  draperies  that  are  pro- 
! duced  from  their  own  colours.*  All  accidental 
reflexes  are  made  with  the  colour  of  the  parts 
from  which  they  are  produced,  and  the  local 
j colours  that  receive  them.  There  are  but  two 
reflecting  tints  wanted  in  draperies  in  general  ; 

I one  should  be  lighter  than  the  middle  tint,  tin 
other,  darker.  These  colours  may  be  a lit 
; tie  changed  on  the  pallet  with  the  first  an 
middle  tints,  as  occasion  requires,  or  lightl 
broken  on  the  part  that  receives  them  ; b' 
this  last  method  is  not  so  safe  as  the  other.- 
Tbe  tint  sufficient  for  blending  the  dark  sb 
dows  to  the  mellow,  tender  hue,  is  made  wi  _ 
the  shade  tint  and  a little  brown  ochre,  whi 
should  be  laid  on  very  sparingly,  with  S( 
light  touches,  for  fear  of  making  them  dull : 

! heavy  ; if  it  is  overdone,  recover  it  with 
‘ Qoloiir  that  it  is  laid  upon.  Wc  often  sc 


little  blue  used  in  the  lirst  lint  of  white  satin. 


BLUE  SATIN. 

Blue  satin  is  made  of  Prussian  blue  and  fine 
white.  The  best  ground  for  blue  is  white,  for 
the  lights,  and  black  and  white,  for  the  shad- 
ows. The  first  l5?y  of  colours  for  blue,  is  di- 
vided into  three  degrees  or  tints.  First,  make 
the  miadie  tint  of  a beautiful  azure.  Tfien 
mix  the  colour  for  the  light,  about  a middle 
degree  between  that  and  white.  Make  the 
shade  tint  dark  enough  for  the  shadows  in  gen- 
eral. All  the  broad  lights  should  be  laid  with 
plenty  of  colour  and  shaped  to  character  with 
the  middle  tint,  bejpre  you  lay  on  any  other 
colours.  Remember,  the  less  colours  are  mix- 
ed, the  better  they  will  appear,  for  the  lights 
of  blue  should  be  managed  with  as  much  care 
as  those  of  white  satin.  Next,  follow  with  the 
€cast  of  the  middle  tint,  and  then  make  out  all 
the  shadows.  The  more  you  derive  the  shade 
tint,  the' better  it  will  receive  the  reflects  and 
finishing  tints.  The  shadows  should  be 
strengthened  and  blended  with  ivory  black, 
and  some  of  their  own  colour,  w^hich  will  mix 
with  them  in  a tender,  mellow  hue.  The  re- 
flects are  made  as  those  of  white  satin  ; that 
is,  with  ochre  and  some  of  the  lights,  which 
should  be  perfectly  done  as  you  intend  them,  at 
one  painting.  The  shadows  wlieii  dry,  may 
be  a little  improved,  if  there  is  occasion  to 
alter  them  witli  the  colouis  they  are  made  with> 


M’he  Prussian,  proper  to  he  used,  is  that  which 
looks  of  the  most  beautiful  azure  ; before  it  is 
ground  the  better  it  will  work  and  appear. 

' VELVET. 

I « 

The  method  is  to  make  out  the  first  lay  with 
i the  middle  tint,  and  shade  tint,  on  which  lay 
the  high  lights  with  light  touches,  and  finish 
the  shadows  in  the  same  manner  as  those  of 
satin;  but  the  nearest  imitation  of  velvet  is 
! done  by  glazing  ; the  method  of  which  is,  to 
j prepare  a ground  or  dead  colour,  with  such 
I colours  as  will,  when  dry,  bear  out  and  support 
j the  glazing  colour  in  its  highest  perfection. — 

! The  nature  of  the  glazing  aolour  is  to  be  of  a 
I fine  transparent  quality,  and  used  simply  with 

■ oil,  only  so  that,  whatever  ground  it  is  laid  on, 
j the  whole  may  appear  distinctly  through  it. — 

! The  best  ground  for  blue,  is  made  with  white, 
f and  ivory  black.  The  white  is  for  the  high 
! lights,  w'bich,  with  the  middle  tint,  and  shade 

■ tint,  makes  out  the  first  lay,  like  mezzotinto. — 

I Remember  to  make  the  middle  tint  lighter  in 
j proportion  to  the  glazing,  because  that  will 
I make  it  darker.  It  is  often  necessary  to  cov- 
j er  all  but  the  high  lights  with  a thin  glazing, 

laid  in  less  quantity,  than  if  it  was  to  be  done 
once  only.  If  any  of  it  touches  the  lights, 

' wipe  it  off  with  a rag.  The  very  high  lights 
‘ should  be  improved,  and  made  of  a fine  white, 

: and  left  to  dry.  The  glazing  colour  is  Prussian, 

I ground  very  fine  with  nut  oil,  and  should  be 


'U 


laid  with  a large  stiffish  tool.  It  is  on  the  last 
glazing,  we  should  strengthen  and  finish  the 
shadows.  When  glazing  blue,  the  lights  may 
be  glazed  with  ultramarine  ; though  all  the 
other  parts  are  done  with  Prussian.  If  the 
lights  and  middle  tint  mix  to  a beautiful,  clear 
colour  of  a middle  hue  between  both,  there 
will  be  no  occasion  for  a colour  to  go  between 
them,  as  in  blue  satin. 

PINK  COLOUR. 

There  are  two  different  methods  of  painting 
a pink  colour  ; one  is  by  glazing,  the  other  is 
done  by  a body  of  colours  at  one  painting. — 
The  same  grounds4ido  for  both  ; which  should 
be  a whitish  colour  inclining  to  yellow,  for  the 
lights,  and  Indian  red,  lake  and  white,  for  the 
shadows.  The  second  painting  for  the  glazing 
method,  is  done  with  the  same  colours,  and  a 
very  little  vermilion,  and  white  for  the  lights. 
AVhenitis  dry,  glaze  it  with  fine  lake,  and 
then  break  and  soften  the  colours  into  harmo- 
ny directly.  The  other  method  is  to  make  the 
high  lights  with  carmine  and  white,  the  middle 
tint,  with  lake  white,  and  a little  carmine,  and 
the  shadows,  with  lake  and  India  red,  with  a 
little  vermilion  for  the  reflection.  But  re-* 
member,  the  shadows  will  require  to  be  broken 
with  some  tender  obscure  tint. 


PRINCIPAL  TINTS  NECESSARY  FOR  PAINTING. 


Light  red  tint  is  made  of  light  red,  and  white* 
Vermillion  tint  is  only  Vermillion  and  white, 
mixed  to  a middle  tint.  It  is  the  most  brilliant 
l^ght  red  that  can  be.  Carmine  tint  is  carmine 
and  white  only,  mixed  to  a middle  tint ; it  is 
one  of  the  most  beautiful,  red  colours;  it  is  one 
of  the  finishing  colours,  and  laid  on  the  finish-^ 
ing  colour  without  mixing.  Rose  tint  is  made 
of  the  red  shade,  and  white,  mixed  to  a middle 
degree,  or  lighter.  Yellow  tint  is  often  made 
of  Naples  yellow,  and  white;  but  it  is  as  well 
I to  use  light  ochre,  and  white.  It  follows  the 
light  red  tints,  and  yellow  should  always  be  laid 
before  the  blues.  Blue  tint  is  made  of  ultrama- 
rine and  white,  mixed  to  a light  azure.  Lead 
tint  is  made  of  ivory  black,  and  fine  white, 
mixed  to  a middle  degree.  Green  tint  is  made 
of  Prussian  blue,  light  ochre,  and  white  to  be 
laid  sparingly  in  the  middle  tints.  Shade  tint 
is  made  of  lake,  and  Indian  red,  black  and 
white,  mixed  to  a beautiful  murry  colour  of  a 
middle  tint.  This  is  the  best  mixture  for  the 
i general  ground  of  shadows.  It  mixes  well 
with  the  lights,  and  produces  a clear  colour,  a 
little  inclined  to  the  reddish  pearl.  Red  shade 
is  nothing  but  lake,  and  a very  little  Indian 
red.  Warm  shade  is  made  of  lake,  and  brown 
pink,  mixed  to  a middle  degree.  Dark  shade 
is  made  of  ivory  black  and  a little  India  red 
only.  The  colours  and  tints  necessary  for  the 
first  and  second  stages  of  painting,  are  first, 
‘d 


flake  or  fine  whites;  second,  light  ochre  and 
its  tints ; third,  light  red  and  its  two  tints  ; 
fourth,  Vermillion  and  its  tint ; fifth,  a tint 
composed  of  lake  Vermillion  and  white;  sixth, 
rose  tint ; seventh,  blue  tint ; eighth,  lead 
tint;  ninth,  green  tint ; tenth,  half  shade  tint;^ 
eleventh,  shade  tint;  twelfth,  red  shade;  thir- 
teenth, warm  shade.  The  first  lay  of  colours 
consists  of  two  parts;  the  one  is  the  work  of  the 
shadows  only,  and  the  other,  that  of  the  lights. 
The  work  of  the  shadow's,  is  to  make  out  all 
the  drawing,  very  correctly,  with  the  shade 
tint,  in  the  same  manner,  as  if  it  was  to  be 
done  with  this  colour  only  ; and  remember  to 
lay  the  colour  sparingly.  The  lights  should 
all  be  laid  in  with  the  light  red  tint.  These 
two  colours  united,  produce  a clear,  middle 
tint.  In  uniting  the  lights  and  shades,  you 
should  use  a long  softener,  about  the  size  of  a 
large  swan  quill,  w'hich  will  help  to  bring  the 
work  into  character;  then  go  over  the  darkest 
shadows  with  the  warm  shade,  wdiicli  w ill  fin- 
ish the  first  lay.  Next,  in  order  to  finish 
the  first  painting,  improve  the  reds  and  yel- 
lows, to  the  complexion,  and  after  them,  the 
blues,  observing,  the  blues  on  the  reds,  make 
the  purple  ; and  on  the  yellow,  produce  the 
green.  When  the  cloth  is  of  a dark  or  bad 
colour,  there  must  be  a strong  body  of  colour 
laid  all  over  the  shadows.  The  light  red, 
and  white  improved,  is  superior  to  all  other 
colours  for  the  first  lay,  which  should  be  al- 
ways done  with  a full  pencil  of  a stiff  colour 


•27 


made  brighter  than  the  light.  The  second 
painting  begins  with  laying  on  the  least  quan- 
tity of  poppy  oil  that  can  be,  then  wipe  it  al- 
most all  off  with  a piece  of  dry  silk  handker- 
chief. The  second  painting  is  divided  into  two 
[■  parts,  one  the  first  laying  of  the  second  paint- 
* ®ing  which  is  scumbling  the  lights  and  glazing 
the  shadows,  the  other  finishing  the  complex- 
j ion.  First,  scumbling  is  going  over  the  lights 
I where  they  are  to  be  changed  with  the  light 
and  red  tints.  Second,  go  over  the  complexion 
with  the  virgin  tints;  this  should  be  done  in  the 
same  manner  as  you  laid  them  in  the  second 
; part  of  the  first  painting,  that  is,  with  the  reds 
yellow  and  blues,  blending  them  with  delicate 
touches  of  the  tender  middle  tints.  Third, 

; painting  or  finishing.  Begin  with  correcting 
all  the  glazing  first  where  the  glazing  serves 
as  a ground.  If  any  of  the  colours  of  the  pal- 
j let  want  to  be  a little  changed  when  you  are 
painting,  it  is  much  better  to  do  it  with  the 
. knife  on  the  pallet,  than  with  the  pencil,  be- 
cause the  knife  will  mix  and  leave  it  in  good 
order  for  the  pencil. 

METHOD  OF  PREPARING  GREEN  WOOD  SO  THAT  IT 
WILL  NOT  SPLIT  IN  TURNING. 

Having  cut  your  wood  into  pieces  of  a prop- 
er size,  put  it  into  a vessel  full  of  ley  made  of 
wood  ashes.  Boil  it  there  one  hour  ; then  ta- 
king the  cauldron  off  the  fire,  allow  the  ley  to 
cool,  then  take  out  the  wood  and  dry  it  in  the 
shade. 


31ETH0I)  OF  GIVING  TO  PLUMB  TREE  THE  COLOUR 
OF  BRAZIL  WOOD. 

Slack  lime  with  urine  and  bedaub  the  wood 
over  with  it,  while  it  is  hot  ; allow  it  to  dry  ; 
then  take  olF  the  coat  of  lime  and  rub  it  with, 
chamois  skin,  well  oiled  ; or  steep  your  wood 
in  water  having  a quantity  of  alum  dissolved 
in  it,  five  or  six  hours,  kept  luke  warm  during 
a night,  and  when  it  is  dry,  rub  it  as  before  di- 
rected with  chamois  skin  well  oiled. 

A FINE  BLACK  COLOUR  FOR  WOOD.  ' 

Steep  your  wood  for  two  or  three  days  in 
lukewarm  water,  in  which  a little  alum  has 
been  dissolved;  then  put  a handful  of  logwood 
cut  small,  into  a pint  of  water  and  boil  it  down 
to  less  than  half  a pint.  If  you  then  add  a 
little  indigo  the  colour  will  be  more  beautiful. 
Spread  a layer  of  this  liquor  quite  hot  on  your 
wood  with  a pencil,  which  will  give  it  a violet 
colour.  When  it  is  dry,  spread  on  another 
layer,  dry  it  again  and  give  it  a third.  Then 
boil  verdigris  at  discretion,  in  its  own  vinegar 
and  spread  a layer  of  it  on  your  w'ood;  when 
it  is  dry,  rub  it  with  a brush  and  then  with 
oiled  chamois  skins.  This  gives  a fine  black, 
and  imitates  perfectly,  the  colour  of  ebony. 

DYEING  WOOD,  MAHOGANY  COLOUR. 

Take  five  pounds  of  logwood  in  the  chips 


2?) 


to  three  pails  of  soft  water,  boil  in  a brass  ket- 
tle till  the  strength  is  out;  then  take  the  chips 
from  the  liquor  and  boil  down  to  about  two 
quarts,  then  strain  this  liquor  through  white 
flannel  into  another  brass  kettle  and  make  it 
about  blood  warm  and  add  half  an  ounce  gal- 
lingill  root  cut  in  chips  and  boil  down  to  one 
quart  and  when  the  liquor  is  reduced  below 
scalding  heat,  add  half  an  ounce  of  the  best 
dragon’s  blood  finely  pulverized,  let  the  gentle 
heat  continue  for  a considerable  length  oftiino 
or  till  (the  dragon’s  blood  is  dissolved,  then 
I strain  the  second  time  and  bottle  for  use.  The 
stain  must  be  made  warm  when  you  make  use 
of  it;  after  the  work  has  had  two  or  three  coats, 
and  when  dry,  rub  it.with  fine  paper  and  var- 
5 nish.  This  stain  is  used  on  gun  stocks  and 
musical  instruments,  and  on  various  kinds  of 
cabinet  work.  It  is  an  unfading  colour. 

ROSE  WOOD  STAIN. 

To  one  gallon  whiskey  add  one  pound  cam- 
wood in  a glass  bottle,  shake  the  mixture  fre- 
quently for  two  or  three  days;  give  the  timber 
one  or  two  coats  of  this,  stain  then  have  ready 
prepared  one  ounce  of  green  vitrol  dissolved 
in  a pint  of  vinegar.  With  a graining  brush, 
grain  it  according  to  fancy,  then  varnish  one 
coat  with  some  good  rose  pink  finely  ground; 
afterw’ards  varnish  with  two  or  three  coats  of 
clear  varnish. 


30 


.^NaTlIER  VERY  BEAUTIFUL  MAHOGANY  STAIN. 

Take  any  white  hard  wood  (soft  maple  is 
the  best,)  and  take  nitric  acid  diluted  with  wa- 
ter in  proportion,  one  part  of  water  to  three  of  * 
the  acid;  when  dry,  take  a sponge  and  shade 
with  the-  following  composition — take  one 
ounce  of  super  carbonate  of  soda,  and  one 
ounce  of  dragon’s  blood,  made  fine  and  dis- 
solved in  one  pint  alcohol.  The  soda  is  then 
to  be  added  with  this  composition.  Shade 
according  to  fancy  ; and  when  dry,  polish  the 
surface  with  a prece  of  deer  skin  and  chalk, 
made  perfectly  fine,  or  rub  it  hard  with  a piece 
of  felt  hat  without  the  chalk  and  varnish. 

TO  MAKE  A BEAUTIFUIi-  SOFT  GLASS  FOR  JEWEL- 
- RY. 

Take  six  ounces  of  clean  white  sand,  three 
ounces  of  red  lead,  three  ounces  of  pure  pearl 
ashes,  one  ounce  of  salt  petre,  half  an  ounce  of 
borax,  and  two  drachms  of  arsenic;  mix  and 
pound  them  all  together.  Put  the  compound  in 
a crucible  and  set  it  on  a common  fire,  often 
stirring  it  with  an  iron  rod  till  it  is  well  melted 
and  becomes  transparent.  This  compound 
will  liquify  very  easily,  without  any  great  heat, 
if  the  sand  is  fine  ; it  sometimes  requires  to  be 
ground  in  a flint  or  glass  mortar,  and  if  it  be 
kept  melted  awhile,  will  become  beautifully 
transparent,  and  may  be  cast  or  blown  in  the 
manner  of  other  glass.  This  glass  may  be 


31 


changed  to  a red  or  ruby  colour,  by  adding  and 
fusing  together  with  it,  a small  qufintity  of 
finely  pow  dered  precipitate  of  gold,  fgold  pre- 
cipitated from  a solution  in  nitro  muriatic 
acid  by  the  addition  of  tin.)  A green  colour 
may  be  given  by  a precipitate  of  copper,  and 
yellow,  by  calcined  green  vitrol.  * 

SOLDER  FOR  TIN. 

Take  four  parts  of  pewter,  one  of  tin,"  and 
one  of  bismeth,  melt  them  together  and  cast 
them  into  narrow  lengths. 

ANOTHER  SOLDER  FOR  TIN. 

Sixteen  parts  of  tin,  eight  of  lead,  and  four 
of  bismeth,  melted  together. 

TO  STAIN  WOOD  YELLOW. 

Take  any  white  wood  and  brush  it  over  sev- 
eral times  with  the  tincture  of  turmuric, 
ground  to  powder,  to  a pint  of  spirits  ; and  af- 
ter they  have  stood  some  days,  strain  off  the 
tincture.  If  the  yellow  colour  is  desired  to 
have  a reddish  cast,  a little  dragon’s  blood 
must  be  added. 

TO  STAIN  WOOD  RED. 

For  a bright  red  stain  for  wood,  make  a 
strong  infusion  of  Brazil  wood  in  a stale  urine, 


32 


or  water  impregnated  with  pearl  ashes,  in  the 
proportion  of  an  ounce  to  a gallon  ; to  a gal- 
lon of  either  of  which,  the  proportion  of  the 
Brazil  wood  must  be  a pound,  which,  being 
put  to  them,  they  must  stand  together  for  two 
or  three  days,  often  stirring  the  mixture. — 
With  this  infusion,  strained  and  made  boiling 
hot,  brush  over  the  wood  to  be  stained,  till  it 
appears  strongly  coloured  : then  while  yet  wet, 
brush  it  over  with  alum  water,  made  in  the 
proportion  of  two  ounces  of  alum  to  a quart 
of  water. — For  a less  bright  red,  dissolve  an 
ounce  of  dragon's  blood  in  a pint  of  spirits  of 
wine,  and  brush  over  the  wood  with  the  tinc- 
ture, till  the  stain  appears  to  be  as  strong  as  is^ 
desired  ; but  this  is  in  fact,  rather  lacquering 
than  staining. 

TO  STAIN  WOOD  BLUE. 

Wood  may  be  stained  by  means,  either  of 
copper  or  indigo.  The  method  of  staining 
blue  with  copper,  is  as  follows  ; — Make  a so- 
lution of  copper  in  aqua  fortis,  and  brush  while 
hot,  several  times  over  the  wood  ; then  make 
a solution  of  pearl  ashes  in  the  proportion  of 
two  ounces  to  a pint  of  water,  and  brush  it 
hot  over  the  wood,  stained  with  the  solution  of 
coppei*}  till  it  is  of  a perfectly  blue  colour. 

TO  STAIN  WOOD  PURPLE. 

Brush  tlie  wood  to  be  stained,  several  times 


33 


with  a strong  decoction  of  logwood  and  Bra- 
zil wood,  made  in  the  proportion  of  one  pound 
of  logwood  and  a quarter  of  a pound  of  the 
Brazil  to  a gallon  of  water,  and  boiled  for  an 
hour  or  more.  When  the  wood  has  been 
brushed  over,  till  there  is  a sufficient  body  of 
colour,  let  it  dry,  and  then  be  slightly  passed 
over  by  a solution  of  one  drachm  of  pearl  ash- 
es, in  a quart  of  water.  This  solution  must 
be  carefully  used  as  it  will  gradually  change 
the  colour  from  a brown  red,  which  it  will  be 
originally  found  to  be,  to  a dark  blue  purple, 
and  therefore,  its  effect  must  be  restrained  to 
the  due  paint  for  producing  the  colour  desired. 

VANEERING. 

Vaneering,  or  Fineering,  a kind  of  marquet- 
ry, or  inlaying,  whereby  several  thin  slices  or 
leaves  of  fine  woods  of  different  kinds  are  ap- 
plied and  fastened  on  a ground  of  some  com- 
mon wood.  There  are  two  kinds  of  inlaying, 
the  one  which  is  the  most  common,  and  more 
ordinary,  goes  no  farther  than  the  making  of 
compartments  of  different  woods  ; the  other, 
requires  much  more  art  in  representing  flow- 
ers, birds,  and  similar  figures.  The  first  kind 
is  properly  called  Vaneering ; the  latter  is 
more  properly  called  Marquetry.  The  wood 
used  in  vaneering  is  first  sawed  out  into  slices 
or  leaves  about  a line  in  thickness ; i.  e.  the 
twelfth  part  of  an  inch.  Tn  order  to  saw  them, 
the  blocks  or  planks  are  placed  upright,  in  a 


M 


kind  of  a sawing  press.  These  slices  are  af- 
terwards cut  into  narrow  slips  and  fashioned 
divers  ways,  according  to  the  design  pro- 
posed ; then  the  joints,  having  been  exactly 
and  nicely  adjusted,  and  the  pieces  brought 
down  to  tlieir  proper  thickness,  with  several 
planes  for  the  purpose,  they  are  glued  down  on 
a ground  or  block  with  good  strong  English 
glue.  The  pieces  being  thus  jointed  and  glued, 
the  work  if  small,  is  put  in  a press,  if  large,  it 
is  laid  on  a bench,  covered  with  a board  and 
pressed  down  with  poles  or  pieces  of  wood, 
one  end  of  which,  reaches  to  the  ceiling  of  the 
-room,  and  the  other  bears  on  the  board.  When 
the  glue  is  thoroughly  dry,  it  is  taken  out  of 
the  press  and  finished,  first  with  little  planes, 
then  with  scrapers,  some  of  which  resemble 
rasps,  which  take  off  the  dents,  &c.  left  by  the 
planes.  After  it  has  been  sufficiently  scraped^ 
they  polish  it  with  the  skin  of  a dog  fish,  wax 
and  a brush,  or  polisher  of  shave  grass,  whick 
is  the  last  operation.. 

LITMUS  BLUE. 

This  is  a beautiful  blue,  and  will  run  in  a 
pen  as  free  as  ink.  It  is  made  of  lacmus,  and 
prepared  thus  : — take  an  ounce  of  lacmus  and 
boil  it  in  a pint  of  small  beer  wort,  till  the  col- 
oring is  as  strong  as  yon  would  have  it — then 
pour  off  the  liquor  into  a gallipot  and  let  it 
cool  for  use.  This  affords  a beautiful  colour, 
has  extraordinary  effects,  and  is  a holding 


35 


colour  ; if  it  is  touched  with  aqua  fortis,  it  im- 
mediately changes  to  a fine  crimson,  little  in- 
ferior to  carmine. 

A VARNISH  FOR  BRASS  TO  GIVE  THE  APPEARANCE 
OF  GOLD. 

Dissolve  two  ounces  of  pure  gum,  in  forty 
eight  ounces  of  alcohol,  and  place  the  solution 
in  a bottle,  in  a pot  filled  with  sand,  which 
place  over  a strong  coal  fire,  until  you  perceive 
the  sand  become  hot ; then  slacken  your  fire 
to  a gentle  heat,  to  prevent  the  evaporation  of 
the  spirit,  and  avoid  bursting  the  vessel;  cover 
the  neck  of  your  bottle,  with  a piece  of  bladder, 
in  which,  make  a number  of  holes,  with  a 
pin,  to  admit  the  air.  In  another  vessel,  and 
in  the  same  quantity  of  spirits  of  wine,  dis- 
solve one  ounce  of  gum  tragacanth,  in  grains. 
When  completed,  mix  the  two  solutions  to- 
gether, and  put  into  the  mixture,  three  grains 
of  Sanders  wood,  and  let  the  whole  stand  for 
twelve  hours,  in  a gentle  heat.  Strain  it 
through  paper,  and  keep  it  for  use  in  a perfect- 
ly clean  phial.  Sanders  wood  is  preferable  to 
any  other  substance,  for  giving  a golden  color 
to  the  varnish,  made  with  lac.  If  you  .wish  it 
of  a pale  color,  omit  one  half  of  the  sanders 
wood  ; and  if  you  wish  it  of  a darker  color, 
add  as  much  more  of  the  above  mentioned 
quantity.  It  may  be  laid  on  with  a brush  or 
pencil.  An  article  thus  varnished,  will  pre- 
serve its  brilliancy,  as  long  as  the  varnish  lasts  ; 


36 


but  they  must  not  be  rubbed  with  chalk,  nor 
with  a hard  brush  but  only  washed  with  soft 
linen  rags. 

\ 

A GOOD  WHITE  VARNISH. 

Take  ten  ounces  spirits  wine,  gum  sanda- 
rak  in  powder,  and  Venetian  turpentine,  of 
each  two  ounces ; put  them  into  a bottle  that 
will  contain  twice  the  quantity,  and  place  the 
bottle  in  an  iron  pot,  filled  with  sand  ; make 
a gentle  fire  under  the  pot,  so  as  to  heat  the 
sand;  frequently  shake  the  bottle,  until  the 
gum  and  turpentine  are  dissolved.  This  is  a 
useful  varnish  for  ornamental  purposes,  or 
bright  colours. 

ANOTHER  WHITE  VARNISH. 

Take  eight  ounces  of  gum  mastick ; two 
ounces  of  gum  sandarack,  and  one  quart  of 
spirits  wine  ; add  one  ounce  of  Venetian  tur- 
pentine, dissolve  as  above  directed,  and  it  is 
fit  for  use. 

SPIRIT  VARNISHES. 

When  resins  are  dissolved  in  alcohol,  com- 
monly called  spirits  of  wine,  the  varnish  dries 
very  speedily,  but  is  subject  to  crack.  This 
fault  is  corrected  by  adding  a small  quantity  of 
oil  turpentine,  which  renders  it  brighter  and 
less  brittle  when  dry. 


37 


TO  DISSOLVE  GUM  COPAL  IN  SPIRITS  OF  WINE^ 

Dissolve  half  an  ounce  of  camphor,  in  one 
pint  spirits  of  wine  ; put  it  into  a circulating 
glass,  and  add  four  ounces  copal,  in  small  pie- 
ces, set  it  in  a sand  heat,  so  regulated,  that  the 
bubbles  may  be  counted  as  they  rise  from  the 
bottom  : and  continue  the  same  heat  till  the 
solution  is  completed.  Camphor  acts  more 
powerfully  upon  copal  than  any  other  sub- 
stance. If  copal  is  finely  powdered,  and  a 
small  quantity  of  dry  camphor,  rubbed  with  it 
in  a mortar,  the  whole  becomes  in  a few  min- 
utes a tough  coherent 'mass.  The  process 
above  described  will  dissolve  more  copaj,  than 
the  menstreum  will  retain,  when  cold.  The 
most  economical  method  will  therefore  be,  to 
set  the  vessel,  which  contains  the  solution,  by 
for  a few  days,  and  when  it  is  perfectly  settled, 
pour  off  the  clear  varnish  and  leave  the  resi- 
due for  a future  operation.  This  is  a very 
bright  solution  of  copal ; it  is  an  excellent 
varnish  for  pictures,  and  may  perhaps  be 
found  to  be  an  improvement  in  fine  Jappan 
works,  as  the  stoves  used  in  drying  those  arti- 
cles, may  drive  off  the  camphor  entirely,  and 
leave  the  copal  pure  and  colourless  upon  the 
work. 

A VARNISH  FOR  WAINSCOT,  CANE  CHAIRS,  ScC, 

Dissolve  in  a quart  of  spirits  of  wine,  eight 
ounces  of  gum  sandarack,  two  ounces  of  see4 
4 


38 


lac,  and  four  ounces  of  resin  ; then  add  six 
ounces  of  Venice  turpentine.  If  the  varnish 
is  to  produce  a red  colour,  more  of  the  lac, 
and  less  of  the  sandarack  should  be  used ; and 
a little  dragon’s  blood  should  housed.  This 
varnish  is  very  strong. 

A VARNISH  FOR  TOILET  BOXES,  CASES,  FANS,  &C. 

Dissolve  two  ounces  of  gum  mastick,  and 
eight  ounces  of  gum  sandarack,  in  a quart  of 
alcohol;  then  add  four  ounces  Venice  turpen- 
tine. 

TO  STAIN  WOOD  GREEN. 

Dissolve  verdigris  in  vinegar,  or  chrystals 
of  verdigris  in  water,  and  with  the  hot  solu- 
tion, brush  over  tjie  wood  till  it  is  duly  stained. 

A VARNISH  FOR  VIOLINS  AND  OTHER  MUSICAL 
INSTRUMENTS. 

Put  four  ounces  of  gum  sandarack,  two  oun- 
ces of  lac,  two  ounces  gum  mastick,  and  one 
ounce  of  gum  elemi,  into  one  quart  of  alcohol, 
and  hang  them  over  a slow  fire,  till  they  are 
dissolved,  then  add  two  ounces  of  turpentine, 

A VARNISH  FOR  EMPLOYING  VERMILION  FOg, 
PAINTING  EQUIPAGES. 

Dissolve  in  a quart  of  alcohol,  six  ounces  of 
sandarack,  three  ounces  gum  lac,  and  four 


39 


ounces  resin  ; afterwards,  add  six  ounces  of 
the  cheapest  kind  of  turpentine,  mix  it  with 
a proper  kind  of  vermilion,  when  it  is  to  be 
used. 

SEED  LAC  VARNISH. 

Take  spirits  of  wine  one  quart,  put  it  in  a 
wide  mouthed  bottle  ; add  to  it  eiglit  ounces 
seed  lac,  that  is  large  grained,  bright  and 
clear,  and  free  from  sticks ; let  it  stand  two 
days  or  longer,  in  a warm  place,  often  shaking 
it,  strain  it  through  a flannel,  into  another  bot- 
tle and  it  is  fit  for  use. 

SHELLAC  VARNISH. 

Take  one  quart  spirits  of  vvine,  eight  ounces 
of  tlie  thinnest  and  most  transparent  shellac, 
which  if  melted  in  the  flame  of  a candle,  will 
draw  out  in  the  longest  and  finest  hair,  mix 
and  shake  tliese  together,  and  let  them  stand 
in  a warm  place,  for  two  days,  and  it  is  ready 
for  use.  This  varnish  is  softer  than  that 
which  is  made  of  seed  lac;  and  therefore,  is 
not  so  useful,  but  may  be  mixed  with  it  for 
varnishing  wood,  &c. 

WHITE  VARNISH  FOR  CLOCK  FACES  <^C. 

Take  of  spirits  of  wine  highly  rectified,  one 
pint,  which  divide  into  four  parts,  then  mix 
one  part,  with  half  an  ounce  of  gum  mastick, 


io 

in  a phial ; one  part  of  spirit,  and  half  an 
ounce  of  gum  sandarack,  in  another  pUial ; 
One  part  of  spirit  and  half  an  ounce  of  the 
whitest  parts  of  gum  benjamin.  Then  mix  and 
temper  them  to  your  mind.  It  would  not  be 
amiss  to  add  a little  bit  of  white  resin,  or  clear 
Venice  turpentine,  in  the  mastick  bottle  ; it 
will  assist  in  giving  a gloss.  If  your  varnish 
proves  too  strong  and  thick,  add  spirit  of  wine 
only  ; if  too  hard,  some  dissolved  mastick  ; if 
too  soft,  some  sandrack  or  benjamin.  No  oth- 
er rule  can  be  given,  unless  the  quantity  of  the 
gums,  and  the  spirit  could  be  ascertained. — 
When  you  liave  brought  it  to  a proper  temper, 
warm  the  silvered  plate,  before  the  fire,  and 
with  a flat  camel’s  hair  pencil,  stroke  it  all 
over,  until  no  white  streaks  appear. 

A CEMENT  FOR  GLASS  GRINDERS. 

Take  pitch  and  boil  it, — add  thereto  and 
keep  stirring  it  all  the  while,  fine  sifted  wood 
ashes,  until  you  have  it  of  a proper  temper.  A 
little  tallow  may  be  added  as  you  find  neces- 
sary. For  small  work,  to  four  ounces  of  resin, 
add  one  fourth  of  an  ounce  of  bees  wax  melt- 
ed together,  and  four  ounces  of  whitening 
made  previously  red  hot.  The  whitening 
should  be  put  in  while  hot  that  it  may  not  have 
time  to  imbibe  moisture  from  the  atmosphere. 


4i 


TO  SOLDER  OR  CEMENT  BROKEN  GLASS. 

Broken  g4ass  may  be  soldered  or  cemented 
in  such  a manner  as  to  be  as  strong  as  ever,  by 
interposing  between  the  parts,  glass  ground  up 
like  a pegment,  but  of  easier  fusion  than  the 
pieces  to  be  joined,  and  then  exposing  them  to 
such  a heat  as  will  fuse  the  cementing  ingre- 
dient and  make  the  pieces  aglutenate  without 
being  themselves  fused.  A glass  for  the  pur- 
pose of  cementing  broken  pieces  of  flint  glass 
may  be  made  by  fusing  some  of  the  same  kind 
of  glass  previously  reduced  to  powder  along 
with  a little  red  lead  and  borax. 

CEMENT  rOR  SPAR,  AND  OTHER  STONES. 

A cement  for  this  purpose  may  be  made 
with  about  seven  or  eight  parts  of  resin,  and 
one  of  bees  wax,  melted  together,  with  a small 
quantity  of  plaster  of  Paris.  If  it  is  wished 
to  make  the  cement  fill  up  the  place  of  any 
small  chips  that  may  have  been  lost,  the  quan- 
tity of  plaster  must  be  increased  a little. — 
When  the  ingredients  are  well  mixed  and  the 
whole  is  nearly  cold,  the  mass  should  be  well 
kneaded  together.  The  pieces  of  spar  that 
are  to  be  joined,  must  be  heated  until  they  will 
melt  the  cement  and  then  pressed  together  ; 
some  of  the  cement  being  previously  inter- 
posed. Melted  sulphur  applied  to  fragments 
of  stones  previously  heated  by  placing  them 
before  a fire,  to  at  least  the  melting  heat  of 
4* 


sulphur,  and  then  joined  with  the  sulphur  be- 
tween makes  a pretty  firm  and  durable  join- 
ing. Little  deficiences  in  the  stone,  as  chips 
out  of  corners,  &:c.  may  also  be  filled  up  with 
melted  sulphur  in  which  some  of  the  powder 
of  the  stone  has  been  melted. 

BLOOD  CEMENT. 

A cement  often  used  by  copper  smiths  td- 
lay  over  the  rivets  arid  edges  of  the  sheets  of 
copper  in  large  boilers  to  serve  as  an  addi- 
tional security  to  joinings,  and  to  secure  cocks 
&c.  from  leaking,  is  made  by  mixing  pounded 
quick  lime  with  ox’s  blood.  It  must  be  applied 
fresh,  as  it  soon  gets  hard.  If  the  properties 
of  this  cement  were  duly  investigated  it  would 
probably  be  found  useful  for  many  purposes 
to  which  it  has  never  yet  been  applied. 

FLOUR  PASTE. 

Flour  paste  for  cementing  is  formed  princi- 
pally of  wheaten  flour,  boiled  in  water  till  it  is 
of  a glutinous  or  viscid  consistence.  It  may 
be  prepared  of  these  ingredients  simply,  for 
common  purposes,  but  when  it  is  used  by  book 
binders,  or  for  paper  hangings,  it  is  usual  to 
mix  with  the  flour  a fifth  or  sixth  of  its  weight 
of  powdered  resin,  or  alum,  and  where  it  is 
wanted  still  more  tenacious,  gum  arabic  or  any 
kind  of  size  may  be  added. 


43 


jeweller’s  CE3IENT,  FOR  SETTING  PRECIOUS 
STONES  WHEN  PIECES  ARE  BROKEN  OFF  BY  ACCI- 
DENT. 

In  such  cases  the  artist  can  frequently  join 
the  broken  pieces  so  correctly,  that  an  inex- 
perienced eye  cannot  discover  the  stone  to 
have  been  broken  ; for  this  purpose  a small 
piece  of  gum  mastick  is  applied  between  the 
fragments  which  are  previously  heated  suffi- 
ciently to  melt  the  interposed  gum.  They  are 
then  pressed  together  to  force  out  the  redun- 
dant gum, 

TURKEY  CEMENT  FOR  JOINING  GLASS,  ME- 
TALS,  6&C.- 

Dissolve  five  or  six  bits  of  mastick  as  large 
as  peas  in  as  much  spirit  of  wine  as  will  suffice 
to  render  it  liquid  ; in  another  vessel  dissolve 
as  much  isinglass  which  has  been  previously 
soaked  in  water  till  it  is  swollen  and  soft,  in 
brandy  or  rum  as  will  make  two  ounces  by 
measure  ; of  strong  glue  and  add  two  small 
bits  of  gum  galbanum  or  amoniacum,  which 
must  be  rubbed  or  ground  till  they  ^re  dis- 
solved, then  mix  the  vvhole  with  a sufficient 
heat,  keep  it  in  a phial  stopped  and  when  it 
is  to  be  used,  set  it  in  hot  water. 

TO  CEMENT  BROKEN  CHINA,  GLASS,  &C. 

Take  quick  lime  and  white  of  eggs,  grind 


aud  temper  them  well  together  audit  is  ht  for 
use.  Drying  oil  and  white  lead  are  also  fre- 
quently used  for  cementing  china  and  earthern 
ware,  but  this  cement  requires  a long  time  to 
dry.  Where  it  is  not  necessary  the  vessel 
should  endure  heat  or  moisture,  isinglass  glue 
with  a little  trippoli  or  chalk  is  better. 

CEMENT,  USEFUL  FOR  TURNERS. 

Take  resin  one  pound,  pitch  four  ounces, 
melt  these  together  and  while  boiling  hot  add 
brick  dust  until  by  dropping  a little  upon  a 
stone  you  perceive  it  hard  enough,  then  pour 
it  into-  water  and  immediately  make  it  up  into 
rolls  and  it  is  fit  for  use  : or  take  resin  one 
ounce,  pitch  two  ounces,  add  red  ochre  finely 
powdered,  until  you  perceive  it  strong  enough. 
Sometimes  a small  quantity  of  tallow  is  used, 
according  to  the  heat  of  the  weather,  more 
being  necessary  in  winter,  than  summer. — 
Either  of  these  cements,  are  of  excellent  use 
for  turners.  By  applying  it  to  the  side  of  the 
chuck  and  making  it  warm  before  the  fire 
you  may  fasten  any  thin  piece  of  wood  which 
will  hold  while  you  turn  it,  when  you  want  it 
off  again  strike  in  on  the  top  with  your  tool, 
and  it  will  drop  off  immediately. 

A STRONG  CEMENT. 

Melt  one  pound  of  resin  in  a pot  or  pan 
over  a slow  fire,  add  thereto  as  much  plaster 


45 


of  Paris  in  fine  powder  as  will  make  it  hard 
enough,  which  you  will  soon  know  by  trial, 
then  add  a spoonful  of  linseed  oil,  stirring  it 
all  the  while,  and  try  if  it  he  hard  enough  for 
your  purpose  : if  it  is  not  sufficiently  hard 
enough,  add  more  plaster  of  Paris,  and  if  not 
tough  enough,  add  more  linseed  oil.  This  is 
as  good  cement  as  possible  for  fixing  the  necks 
of  cylinders  or  any  thing  else  that  requires  to 
be  strongly  fixed,  for  it  is  not  easily  melted 
again  when  cold.  Or  take  resin  one  pound, 
beeswax  one  ounce,  add  thereto  as  much  red 
ochre  as  wfill  make  it  of  sufficient  stiffness, 
pour  it  into  water,  and  make  it  into  rolls  and 
it  is  fit  for  use.  This  cement  is  useful  for  ce- 
menting hoops  on  glasses,  or  any  other  moun- 
tMig  of  electrical  apparatus. 

SHELLAC  CEMteNT. 

This  is  a very  strong  cement  for  holding 
metals,  glass  or  precious  stones,  while  cutting, 
grinding,  or  turning  them.  The  metal  &c. 
should  be  warmed  to  melt  it.  For  fastening 
ruby  cylinders  in  watches  and  similar  delicate 
purposes  shel  lac  is  excellent. 

A CEMENT  THAT  AVILL  STAND  AGAINST  BOILING 
WATER  AND  THE  PRESSURE  OF  STEAM. 

Ih  joining  tlie  flaiiches  of  iron,  cylinders, 
and  other  parts  of  hydraulic  and  steam  en- 
gines, great  inconvenience  is  often  experi-' 


46 


enced  from  the  want  of  a durable  cement. — 
Boiled  linseed  oil,  litharge,  and  red  and  white 
lead  mixed  together  to  a proper  consistence, 
and  applied  on  each  side  of  a piece  of  flannel, 
previously  shaped  to  fit  the  joint,  and  then  in- 
terposed between  the  pieces,  before  they  are 
brought  home  as  the  workmen  term  it,  to  their 
place  by  the  screw  or  other  fastenings  em- 
ployed, make  a close  and  durable  joint.  The 
quantities  of  the  ingredients  may  be  varied 
without  inconvenience,  only  taking  care  not 
to  make  the  mass  too  thin  with  oil.  It  is  dif- 
ficult in  many  cases  instantly  to  make  a good 
fitting  of  large  pieces  of  iron  work,  which 
renders  it  necessary  sometimes  to  join  and 
separate  the  pieces  repeatedly  before  a proper 
adjustment  is  made.  When  this  is  expected 
the  white  lead  ought  to  predominate  in  the 
mixture,  as  it  dri^  much  slower  than  the  red. 
A workman  knowing  this  fact  can  be  at  little 
loss  in  exercising  his  own  discretion  in  regu- 
lating tiie  quantities.  It  is  safest  to  err  on  the 
side  of  the  white  lead  as  the  durability  of  the 
cement  is  no  way  injured  by  it,  only  a longer 
time  is  required  fer  it  to  dry  and  harden.^ — 
When  the  fittings  will  not  admit  easily  of  so 
thick  a substance  as  flannel  being  interposed, 
Jinen  may  be  substituted,  or  even  paper  or 
thin  pasteboard.  This  cement  answ'ers  well 
for  joining  broken  stones,  howev'er  large. — 
Cisterns  built  of  square  stones  put  togetiier 
with  this  cement  will  never  leak  or  want  any 
repairs.  In  this  case,  the  stones  need  not  be 


4/ 


entirely  bedded  in  it; — m\  inch  or  two  or  even 
less,  of  the  edges  that  are  to  lie  next  the  water, 
need  only  to  be  so  treated,  the  rest  maybe 
filled  with  good  lime  mortar, 

ANOTHER  CEMENT  THAT  WILL  STAND  THE  AC- 
TION OF  BOILING  WATER  AND  STEAM. 

This  cement  which  is  preferable  even  to  the 
former  for  steam  engines,  is  prepared  as  fol- 
lows : take  two  ounces  of  Salaraoniac,  one 
ounce  of  flour  of  sulphur,  and  sixteen  ounces 
of  cast  iron  filings  or  borings.  Mix  all  well 
together  by  rubbing  them  in  a mortar  and 
keep  the  powder  dry.  When  the  cement  is 
wanted  for  use,  take  one  part  of  the  above 
powder  and  twenty  parts  of  clean  iron  borings 
or  filings  and  blend  them  intimately  by  grind- 
ing them  in  a mortar.  Wet  the  compound 
with  water,  and  when  brought  to  a convenient 
consistence  apply  it  to  the  joints  with  a blunt 
or  wooden  spattula.  By  a play  of  affinities 
which  those  who  are  at  all  acquainted  with 
chemistry,  will  be  at  no  loss  to  compre- 
hend, a degree  of  action  and  reaction  takes 
place  among  the  ingredients,  and  between 
them  and  the  iron  surfaces,  which,  at  least 
causes  the  whole  to  unite  as  one  mass.  In  fact, 
after  a time,  the  mixture  and  the  surfaces  of 
the  flanches  become  a species  of  pyrites  hold- 
ing a very  large  proportion  of  iron,  all  the 
parts  of  which  cohere  strongly  together. 


JAPANESE  CEMENT. 


This  elegant  cement  is  made  bf  mixing  rice 
flour  intimately  with  cold  water  and  then  gen- 
tly boiling  it.  It  is  beautifully  white  and  dries 
almost  transparent.  Papers  pasted  together 
by  means  of  this  cement  will  sooner  separate 
in  their  own  substance  than  at  the  joining, 
which  makes  it  useful  in  the  preparation  of 
curious  paper  articles  that  require  layers  of 
paper  to  be  cemented  together. 

CEMENT  EOn  STOPPING  HOLES  OR  CRACKS  IN 
IRON. 

Take  six  quarts  of  potter’s  clay,  one  part 
steel  filings,  and  of  linseed  oil  sufficient  quan- 
tity to  render  the  mixture  of  a substance  like 
glazier’s  putty. 

CEMENT. 

Take  two  parts  common  wood  ashes  sifted 
fine,  three  parts  of  clay  powdered  fine,  one 
part  of  sand  sifted  fine,  and  all  mixed  well  to- 
gether with  linseed  oil,  resists  the  inclemencies 
of  the  weather  when  dried,  better  than  mar- 
ble. 

CEMENT. 

Isinglass  boiled  in  spirits  of  wine  will  pro- 
duce a fine  transparent  cement,  which  will 


unite  broken  glass  so  as  to  render  the  fraeture 
almost  imperceptible  and  perfectly  secure. 


JAPPANNING. 

"Wben  a priming  is  used,  tlie  work  should 
first  be  prepared,  by  being  well  smoothed  with 
fish  skin  or  glass  paper,  and  being  thoroughly 
clean,  should  be  brushed  over  once  or  twice 
with  hot  size,  diluted  with  two  thirds  water  if 
it  is  of  the  common  strength.  The  priming 
should  then  be  laid  on  as  soon  as  possible,  and 
should  be  formed  of  a^izQ  of  a consistency  be- 
tween the  common  kind  and  glue  mixed  with 
as  much  whiting  as  will  give  it  a sufficient 
body  of  colour  to  hide  the  surface  of  whatever 
it  is  laid  upon,  but  no  more.  This  must  be 
repeated  till  the  inecpialities  are  completely 
filled  up,  and  then  the  work  must  be  cleaned 
off  with  Dutch  rushes,  and  polished  with  a wet 
rag.  When  wood  or  leather  is  to  be  jappan-’ 
ned  and  no  priming  is  used,  the  best  prepara- 
tion is  to  lay  two  or  three  coats  of  coarse  var- 
nish composed  in  the  following  manner.  Take 
rectified  spirits  of  wine  one  pint,  and  of  coarse 
seed  lac  and  resin,  each  two  ounces,  dissolve 
the  seed  lac  and  resin  in  spirit,  and  then  strain 
off  the  varnish.  This  varnish,  as  well  as  all 
others  formed  of  spirits  of  wine,  must  be  laid 
on  in  a warm  place  ; and  if  it  can  be  com- 
pletely managed,  the  piece  of  work  to  be  var- 
nished, should  be  made  warm  likewise,  and 
for  the  same  reason,  all  dampness  should  be 


66  j 

^voided,  for  ekiier  cold  ov  moisture  eliills  this; 
kind  of  varnish,  and  prevents  its  taking  proper 
hold  of  the  substance  on  which  it  is  laid. — 
When  the  work  is  so  prepared  or  by  the 
priming  with  the  coaiposition  of  size,  and  'whit- 
ing above  described,  the  proper  jappan  ground 
must  be  laid  on,  which  is  much  the  best 
formed  of  shellac  varnish  and  the  colour  de- 
^ sired  except  white,  which  requires  peculiar  ^ 
treatment,  and  if  brightness  is  wanted,  then 
also,  other  means  must  be  pursued.  The  I 
colours  used  with  the  shellac  varnish,  maj’  ! 
be  any  pegments  whatever,  wdiich  give  the  ) 
tint  of  the  ground  desired.  As  metals  never  ^ 

require  to  be  undercoated  v.ith  whiting  the}'  : 

may  be  treated  in  the  same  manner  as  wood 
or  leather. 

METHOD  OF  PAINTING  JAPPAN  WORK. 

Jappan  work  ought  properly  to  be  painted 
v/ith  colours  in  varnish,  though  for  the  greater 
despatch,  and  in  some  very  nice  work  too 
small  for  the  use  of  the  pencil,  the  colours  arc 
sometimes  tempered  in  oil  which  should  previ- 
ously have  a fourth  part  of  its  weight  of  gum 
ammi  dissolved  in  it,  or  in  default  of  that  gum, 
sandarack  or  gum  mastick.  W'hen  the  oil  is 
thus  used,  it  should  be  well  diluted  with 
oil  turpentine  that  the  colours  may  lie  more 
evenly  and  thin,  by  ivhich  means  fewer  of  the 
polishing  or  upper  coats  of  varnish  become  ne- 
cessary. In  some  instances  water  colours  are 


I 


laid  oil  grounds  of  gold  in  the  manner  of  other 
paintings  ; and  are  best  when  so  used  in  their 
proper  appearance  without  any  varnish  over 
them  ; and  they  are  also  sometimes  so  man- 
aged as  to  have  the  effect  of  bossed  work. — 
The  colours  employed  in  this  way  for  painting 
are  best  prepared  by  means  of  isinglass  size, 
corrected  by  honey  or  sugar  candy.  The 
body  of  wliich  the  embossed  work  is  raised, 
need  not  how'ever  be  tinged  with  the  exterior 
colour,  but  may  be  best  formed  of  a very 
strong  gum  water  thickened  to  a proper  con- 
sistence by  bole  Armenian  and  whiting  in. 
equal  parts  wliich  being  laid  on  the  proper  fig- 
ilre,  and  repaired  when  dry,  may  be  then 
painted  with  the  proper  colours  tempered  with 
fh'e  isinglass  size,  or  in  the  usual  manner,  with' 
shellac  varnish. 

MANNER  OF  VARNISHING  JAPPAN  WORK," 

The  finishing  of  jappan  work  depends  oh 
file  laying  on  and  polishing  the  outer  coats  of 
varnish  which  arc  necessary  as  Well  in  the 
pieces  that  have  only  one  simple  ground  of 
colour,  as  with  those  that  are  painted.  This 
in  general,  is  done  best  with  common  seed 
lac  varnish  except  in  the  instances  and  on 
those  occasions  wh^re  particular  methods  are 
deemed  to  be  more  expedient,  and  the  same 
reasons  which  decide  as  to  the  fitness  or  im- 
propriety of  the  varnishes  with  respect  to  the 
colours  of  the  ground,  hold  equally  with  re- 


gard  to  those  of  the  painting.  For  where 
brightness  is  the  most  material  point  and  a 
tinge  of  yellow  will  injure  it,  seed  lac  must 
give  way  to  the  whiter  gums  ; but  where 
hardness  and  a great  tenacity  are  most  essen- 
tial, it  must  be  adhered  to,  and  when  both  are 
necessary,  it  is  proper  one  should  give  way 
to  the  other  in  a certain  degree  reciprocally, 
a mixed  varnish  must  be  adopted.  This  mixed 
varnish  as  we  have  already  observed  should 
be  made  of  the  pricked  seed  lac.  The  com- 
mon seed  lac  varnish  which  is  the  most  useful 
preparation  of  the  kind  hitherto  invented  may 
be  thus  made.  Take  of  seed  lac  three  ounces 
and  put  it  into  w'ater  to  free  it  from  the  sticks 
and  filth  that  are  frequently  intermixed  with 
it,  and  which  must  be  done  by  stirring  it  al)out 
and  then  pouring  off  the  w'atcr,  and  adding 
fresh  quantities  in  order  to  repeat  the  opera- 
tion till  it  is  freed  from  all  impurities,  (as  is 
very  eftectually  done  by  this  means.)  Dry  it 
then  and  powder  it  grossly  and  put  it  with  vc 
pint  of  rectified  s|)irits  of  wine  into  a bottle  of 
which  it  will  not  fill  above  twm  thu'ds,  shake 
the  mixture  w'ell  together  and  place  tlie  bottle 
in  a gentle  heat  till  the  seed  lac  appears  to  be 
dissolv^ed  the  shaking  in  the  mean  time  repeat- 
ed as  often  as  may  be  convenient,  then  pour 
oflf  all  that  can  be  obtained  clear  by  this  meth- 
od, and  strain  the  remainder  through  a coarse 
cloth.  The  varnish  thus  prepared,  must  be 
kept  for  use  in  a bottle  w^ell  stopped.  ^Vlien 
the  spirit  of  wine  is  very  strong  it  will  dissolve 


a greater  ])roportioii  oi’ the  seed  Jac,  but  thii 
quantity  will  saturate  the  common  which  is 
seldom  of  a strength  sudicieiit  to  make  var- 
nishes in  perfection.  As  the  chilling  which  is 
tiie  most  inconvenient  accident  attending  var- 
nishes of  this  kind,  is  prevented  or  produced 
more  frequently  according  to  the  strength  of 
the  spirit;  we  shall  therefore  take  this  oppor- 
tunity of  showing  a method  by  which  weaker 
rectified  spirits  may  with  great  ease  at  any 
time  be  freed  from  the  phlegm,  and  rendered 
of  the  first  degree  of  strength.  Take  a pint 
of  the  common  rectified  spirits  of  wine  and 
put  it  into  a bottle  of  which  it  will  not  fill 
above  three  parts,  add  to  it  half  an  ounce  of 
pearl  ashes,  salt  of  tartar,  or  any  other  kind  of 
alkaline  salt,  heated  red  hot  and  powdered  a5 
well  as  it  can  be  without  much  loss  of  its  heat. 
Shake  the  mixture  frequently  for  the  space  of 
half  an  hour  before  which  time  a great  part  of 
the  phlegm  will  be  separated  from  the  spirit 
and  will  appertain  together  with  the  undis- 
solved part  of  the  salts  in  the  bottom  of  the 
bottle.  Let  the  spirit  be  poured  olF,  freed  from 
the  phlegm  and  the  salts  by  means  of  a trito- 
reum  or  separating  funnel,  and  let  half  an 
ounce  of  the  pearl  ashes,  heated  and  powdered 
as  before  be  added  to  it,  and  the  same  treat- 
ment repeated.  This  may  be  done  a third 
time  if  the  quantity  of  phlegm  separated  by 
the  addition  of  the  pearl  ashes  appears  con- 
siderable. An  ounce  of  allum  reduced  to 
powder  and  made  hot,  but  not  burnt,  must 


64 


then  be  put  into  tiie  spirit  and  su tiered  to  re- 
main some  hours,  the  bottle  being  frequently 
shaken  after  which  the  spirit  being  poured  off 
from  it,  will  be  fit  for  use.  The  addition  of 
the  alum,  is  necessary  to  neutralize  the  re- 
mains of  the  alkaline  salt  which  would  other- 
wise greatly  deprave  the  spirit  with  respect  to 
varnishes  and  lacquer  where  vegetable  col- 
ours are  concerned,  and  must  consequently 
t'ender  another  distillation  necessary.  The 
manner  of  using  the  seed  lac  or  white  varnish 
is  the  same,  except  with  regard  to  the  sub- 
stance used  in  polishing,  which  where  a ])ufe 
white  of  a great  clearness  of  other  colours  is 
in  question,  should  be  itself  white,  whereas  the 
brown  sorts  of  polishing  dust  as  being  cheap- 
er and  doing  their  business  with  greater  de- 
spatch may  be  used  in  other  cases.  The  piece 
of  work  to  be  varnished  should  be  placed  near 
a fire  or  in  a room  where  there  is  a stove,  and 
made  perfectly  dry,  and  then  the  varnish  may 
be  rubbed  over  them  by  the  proper  brushes 
made  for  that  purpose,  beginning  in  the  mid- 
dle and  passing  the  brush  to  one  end,  and 
then  with  another  stroke  from  the  middle 
passing  it  to  the  other.  But  no  part  should 
be  crossed,  or  twice  passed  over  in  forming 
one  coat  when  it  can  be  possibly  avoided. — 
When  one  coat  is  dry  another  must  be  laid  over 
it,  and  this  must  be  continued  at  least  five  or 
six  times  or  more,  if  on  trial  there  is  not  suffi- 
cient thickness  of  varnish  to  bear  the  polish 
\vithout  laying  bare  the  painting  or  ground 


oo 

colour  uudenieath.  ben  a sufficient  num- 
ber of  coats  is  thus  laid  on,  the  work  is  fit  to 
■ be  polished,  which  must  be  done  in  common 
cases  by  rubbing  it  with  a rag  dipped  in  tripoli 
or  rotten  stone  linely  powdered,  but  towards 
the  end  of  the  rubbing,  a little  oil  of  any  kind 
should  he  used  along  with^  the  powder,  and 
when  the  work  appears  sufficiently  bright  and 
glossy,  it  should  be  rubbed  with  the  oil  alone, 
to  clean  it  from  the  powder  and  give  it  a still 
brighter  lustre. 

jappaner’s  gilding. 

The  gilding  of  jappanned  work  consists  iif 
drawing  with  a hair  pencil  in  gold  size,  the 
intended  ornaments  and  afterward  applying 
gold  leaf  or  gold  powder.  The  gold  size  may^ 
be  prepared  in  the  following  manner.  Take  ot 
linseed  oil  and  of  gum  animi  tour  ounces,  set 
the  oil  to  boil  in  a proper  vessel  and  then  add 
the  gum  animi  gradually,  in  powder,  stirring 
each  quantity  about  il^the  oil  till  it  appears  to 
be  dissolved,  and  then  putting  in  another,  till 
the  whole  is  mixed  with  the  oil.  Let  the  mix- 
ture continue  to  boil,  till  on  taking  a small 
quantity  out,  it  appears  of  a thicker  consist- 
ence than  tar,  and  then  strain  the  whole 
through  a coarse  cloth  and  keep  it  for  use 
but  it  must,  when  applied,  be  mixed  with  ver- 
milion and  oil  turpentuie.  Having  laid  on 
the  gold  size  and  suffered  it  to  dry,  the  gold 
leaf  is  applied  in  the  usual  way;  or  if  it  is 


not  wanted  to  shine  so  much,  gold  powder 
is  applied  wliicli  is  made  by  grinding  gold 
leaf  with  honey,  and  afterwards  washing  the 
honey  away  with  water.  If  the  gilding  is  to 
be  varnished  over,  Dutch  gold  may  be  used  or 
aruinrausivium  may  be  used  instead  of  real 
gold  powder. 

TO  WRITE  ON  PAPER  WITH  LETTERS  OF  GOLD. 

Put  some  gum  arable  into  common  writing 
ink  and  write  with  it  in  the  usual  w^ay.  When 
the  writing  is  diy,  breathe  on  it;  the  wmrmth 
and  moisture  will  soften  the  gum  and  cause  it 
to  fasten  on  the  gold  leaf  which  may  be  laid 
on  in  the  usual  way  and  the  superfluous  part 
brushed  off;  or  instead  of  this,  any  Jajipan- 
er’s  size  may  be  used. 

OIL  GILDING. 

First  prime  your  work  with  boiled  linseed 
oil  and  white  lead,  and  when  that  is  dry  cover 
it  over  with  a thin  coat  of  gold  size  made  of 
stone  ochre  ground  in  fat  oil.  When  that  is 
so  dry  as  to  feel  clammy  to  the  fingers,  or  to 
be  what  the  gilders  call  tacky,  it  is  fit  for  gild- 
ing. Having  spread  your  leaves  upon  the 
cushion,  cut  them  into  slips  of  the  proper 
wddth  for  covering  your  work.  Then  breathe 
upon  your  tip  which  by  moistening,  it  w ill 
cause  it  to  take  up  the  leaves  from  the  cush- 
ion. Having  applied  them  by  the  tip,  on  the 


proper  parts  of  your  work,  press  them  dowu 
with  the  ball  of  cotton.  When  all  your  work  is 
sufficiently  covered  let  it  dry  and  clean  it  off 
with  the  brush.  This  sort  of  gilding’  is  the 
easiest  and  least  expensive,  and  stands  the 
weather  best,  and  may  be  cleaned  with  a little 
water  any  time,  but  wants  in  the  lustre  of  bur- 
nished gilding. 

nURNISHED  GILDING. 

The  wood  intended  to  be  gilded  in  this 
manner,  should  first  be  well  sized  and  then 
covered  with  seven  or  eight  coats  of  size  and 
whiting  so  as  to  form  a body  of  considerable 
thickness.  Having  got  a sufficient  cjuantity  of 
uhiting  upon  the  work,  it  must  be  carefully 
cleaned  taking  care  to  free  all  the  cavities  and 
hollows  from  the  whiting  that  may  have 
choked  them  up  and  by  proper  moulds  and 
tools  restoring  the  sharpness  of  the  mouldings 
intended  to  be  shown.  It  is  then  to  receive  a 
coat  of  size  which  is  made  by  boiling  Armenian 
bole  with  parchment  size.  This  must  also 
remain  till  it  is  sufficiently  dry  for  gold.  It 
must  not  be  quite  dry,  therefore  it  would  not  be 
prudent  to  lay  on  more  at  a time  than  can  be 
gilded  before  it  becomes  too  dry.  The  work 
being  thus  prepared,  place  it  a little  declining 
from  you,  and  having  ready  a cup  of  clean 
water,  and  some  hair  pencils,  moisten  a part 
of  the  work  and  then  apply  the  gold  by  the  tip 
to  the  moistened  part.  The  gold  will  imme^ 


diateiy  eidhere  close  to  the  work,  proceed  to 
wet  the  next  part  and  apply  the  gold  as  be- 
fore, repeating  this  operation  till  the  whole  is 
completed,  taking  care  not  to  let  any  drops  of 
water  come  upon  any  part  of  the  gold  already 
laid  on.  Care  should  therefore  be  taken  that 
no  part  be  missed  in  going  over  it  at  first. — 
The  work  being  thus  gilt  let  it  remain  twenty 
four  hours,  when  the  ])arts  that  are  designed 
to  be  burnished  are  polished  with  a dogs  tooth 
or  what  is  better  with  an  agate  burnisher. — 
The  gilding  must  not  be  quite  dry  when  bur- 
nished. 

AN  IMPROVED  PROCESS  FOR  GILDIxXG  IRON  OR 
STEEL. 

This  process  which  is  less  known  than  it 
ought  to  be  among  artists,  may  prove  useful  to 
those  who  have  occasion  to  gild  iron  or  steel. 
The  first  part  of  the  process  consists  in  pour- 
ing a solution  of  gold  in  nitro  muriatic  acid, 
about  twice  as  much  ether,  which  must  be 
done  with  caution,  and  in  a large  vessel. — 
These  liquids  must  then  be  shaken  together, 
as  soon  as  the  mixture  is  then  at  rest,  the  ether 
will  be  seen  to  separate  itself  from  the 
aqua  regia,  and  to  float  on  the  surface.  The 
aqua  regia  becomes  more  transparent  and  the 
ether  darker  than  they  were  before,  for  the 
reason  that  the  ether  has  taken  the  gold  from 
the  acid.  The  whole  mixture  is  then  to  be 
poured  into  a glass  funnel,  the  lower  aperture 


i>f  which  slioiikl  be  small,  hut  this  aperture 
must  not  be  opened  till  the  fluids  have  com- 
pletely  separated  theinseives  from  each  other. 
It  is  then  to  be  opened  ; bj  which  means,  the 
liquid  which  has  taken  the  lowest  place  by  its 
greater  gravity  (viz.)  the  nitro  muriatic  acid, 
will  run  off,  after  which  the  aperture  is  to  be 
shut,  and  the  funnel  will  then  be  found  to  con- 
tain nothing'  but  ether  mixed  with  the  gold 
which  is  to  be  put  into  well  closed  bottles  and 
preserved  for  use.  In  order  to  gild  iron  or 
steel  the  metal  must  be  first  well  polished  with 
the  finest  emery,  or  rather  with  the  finest  cro- 
cus martes  or  colcothar  of  vitrol  and  common 
brandy.  The  auriferous  ether  is  then  to  be 
applied  ^yith  a small  brush  ; the  ether  soon 
evaporates  and  the  gold  remains  on  the  sur- 
face of  the  metal.  The  metal  may  be  then 
put  into  the  fire  and  afterwards  polished.  By 
means  of  this  auriferous  ether,  all  kinds  of 
. figures  may  be  delineated,  on  iron  by  employ- 
ing a pen  or  brush.  Instead  of  ether,  the  es- 
sential oils  may  he  used,  such  as  oil  of  tor-* 
yjentine,  or  oil  of  lavender,  which  will  also 
take  gold  from  its  solution. 

GRECIAN  GILDING. 

Dissolve  some  mercury  in  muriatic  acid 
which  will  give  a muriate  of  mercury,  mix 
equal  parts  of  this  andsalamoniac  and  dissolve 
them  in  aquafortis.  Put  some  gold  into  this 
and  it  will  dissolve.  When  this  is  applied  to 


silver,  it  becomes  black,  but  by  heating,  it  as- 
sumes the  appearance  of  gilding. 

TO  MAKE  SHELL  GOLD. 

Grind  up  gold  leaf  with  honey  in  a mortar, 
then  wash  away  the  honey  with  water  and  mix 
the  gold  powder  with  gum  water.  This  may 
be  applied  to  any  article  with  a camel  hair 
pencil  in  the  same  way  as  any  other  colour. 

OP  THE  INSTPvUMENTS  NECESSARY  FOR  GILDING, 

The  first  instrument  is  the  cushion  for  re- 
ceiving the  leaves  of  gold,  from  the  books  in 
which  they  are  bought.  It  is  made  by  cover- 
ing a board  of  about  eight  inches  square  with 
a double  thickness  of  flannel,  and  over  that  a 
piece  of  buff  leather  and  fastening  light  round 
the  edges.  The  knife  for  cutting  the  leaves 
should  be  made  like  a pallet  knife  and  should 
not  have  its  edge  too  sharp.  The  tip  is  a 
tool  made  by  fastening  the  long  hairs  of  a 
squirrel  tail  between  two  cords  and  is  used  for 
taking  up  the  gold  leaf  after  it  is  cut.  A ball 
of  cotton  is  necessary  for  pressing  down  the 
leaf  after  it  is  laid  on.  A large  camel  hair 
brush  is  used  for  dusting  the  work  and  clearing 
away  the  superfluous  gold. 

MORDANTS  FOR  COLOURING. 

The  most  important  part  of  dyeing  is  un- 


01 


doubted!}'  the  proper  choice,  and  the  proper 
application  of  mordants ; as  upon  them  the 
permanency  depends.  They  must  previously 
be  dissolved  in  some  liquid  which  has  a weaker 
affinity  for  them,  than  the  cloth  has  to  whieh 
they  are  to  be  applied,  and  the  cloth  must  be 
dipped  or  steeped  in  this  solution  in  order  to 
saturate  itself  with  the  mordant.  Almost  the 
only  substances  used  as  mordants  are  earths, 
metalic  oxides,  tan  and  oil.  Of  earthy  mor-. 
dants  the  most  important  and  most  generally 
used  is  alumina.  Alum  when  used  is  dissolved 
in  water  and  very  frequently  a quantity  of 
tartar  is  dissolved  along  with  it.  Into  this  so- 
lution the  cloth  is  put  and  kept  in  it  until  it 
has  absorbed  as  much  alumina  as  is  necessary, 
it  is  then  taken  out  and  for  the  most  part 
washed  and  dried.  Acetite  of  alumina  has 
been  but  lately  introduced  into  dyeing.  This 
mordant  is  now  prepared  by  pouring  acetite  of 
lead  into  a solution  of  alum  ; a double  deconn 
position  takes  place,  the  sulphureous  acid 
combines  with  the  lead,  and  the  compound 
precipitates  in  the  form  of  an  insoluble  pow- 
der, while  the  alumina  combines  with  the  ace- 
teous  acid,  and  remains  dissolved  in  the  liquid. 
This  mordant  is  employed  for  cotton  and  linen 
which  have  a weaker  affinity  than  wool  for  alu- 
mina. It  answers  much  better  than  alum  ; 
the  cloth  is  more  easily  saturated  with  alumi- 
na, and  takes  in  consequence,  both  a richer 
and  more  permanent  colour.  Lime  is  some- 
times used  as  a mordant,  but  in  general  it  does 
6 


not  answer  so  well  as  alumina.  When  usefl, 
it  is  either  in  a state  of  lime  water  or  of  sul- 
phate of  lime  dissolved  in  water.  Almost  all 
the  raetalic  oxides  have  an  affinity  for  cloth, 
but  only  two  of  them  are  extensively  used  as 
mordants  ; namely  the  oxides  of  tin  and  iron. 
Tin  is  used  as  a mordant  in  three  states  : dis- 
solved in  nitro  muriatic  acid,  in  aceteous  acid, 
and  in  a mixture  of  sulphuric  and  muriatic 
acid.  Nitro  muriatic  of  tin  is  the  common 
mordant  employed  by  dyers.  They  prepare  4 
it  by  dissolving  tin  and  diluted  nitric  acid  to 
which  a certain  proportion  of  muriate  of  soda, 
or  of  amonia  is  added.  When  the  nitro  mu- 
riate of  tin  is  to  be  used  as  a mordant,  it  is 
dissolved  in  a large  quantity  of  water,  and  the 
cloth  is  dipped  in  the  solution  and  allowed  to 
remain  till  sufficiently  saturated.  It  is  then 
taken  out  and  washed  and  dried.  Tartar  is 
usually  dissolved  along  with  nitro  muriate. — 
The  consequence  of  this  is  a double  decompo- 
sition. The  nitro  muriatic  acid  combines  with 
the  potass  of  the  tartar  while  the  tartareous 
acid  dissolves  the  oxide  of  tin.  When  tartar 
is  therefore  used  in  any  considerable  quantity, 
the  mordant  is  not  a nitro  muriate  but  a tar- 
trite  of  tin.  Iron  may  be  used  as  a mordant 
in  two  states,  in  that  of  sulphate  of  iron,  and 
' acetate  of  iron.  The,  lirst  is  commonly  used 
for  wool.  The  salt  is  dissolved  in  water  and 
the  cloth  dipped  in.  It  may  be  used  also  for 
cotton,  but  in  most  cases  acetite  of  iron  is  pre- 
ferred. It  is  prepared  by  dissolving  iron  or 


Its  oxide  in  vinegar  or  sour  beer,  and  the 
longer  it  is  kept  tlie  better.  The  reason  is  that 
this  mordant  succeeds  best,  when  the  iron  is 
in  a state  ol  red  oxide.  It  would  be  better 
than  to  oxidate  the  iron  or  convert  it  into  rust 
before  using  it.  Tan  has  a verj  strong  affinity 
for  cloth,  and  for  several  colouring  matters,  it 
is  therefore  very  frequently  employed  as  a 
mordant.  An  intusion  of  nutgalls  or  sumach 
or  any  other  substance  containing  tan  is  made 
in  v.  ater,  and  the  clotli  is  dipped  in  this  infu- 
sion mid  allowed  to  remain  till  it  has  absorbed 
a sufficient  quantity  of  tan.  Silk  is  capable 
ol  absorbing  a very  great  proportion  of  tan, 
and  by  that  means  requires  a great  increase 
of  weight.  Manufacturers  somcnimes  eniplov 
this  method  of  increasing  the  weight  of  silk.— 
Tan  is  often  employed  also,  along  with  other 
mordants  in  order  to  produce  a compound 
mordant.  Oil  is  also  used  for  the  same  pur- 
pose in  the  dyeing  of  cotton  and  linen.  The 
mordants  with  which  tan  most  frequently  is 

corahined  are  alumina  and  oxide  of  iron. 

Besides  these  mordants  there  are  several  other 
substances  frequently  used  as  auxiliaries  eh 
ther  to  facilitate  the  combination  of  the  mor- 
dant with  the  cloth,  or  to  alter  the  shade  of 
colour.  The  chief  of  these  are  tartar  acetitc 
ollead,  common  salt,  salamoiiiac,  sulphate  of 
copper.  Mordants  not  only  render  the  dye 
peimanent,  but  have  also  considerable  influ- 
ence Oil  the  colour  produced.  The  same  col- 
ouring matter  produces  very  (iiUcrcut  dyes 


Hi 

according’  as  the  mordant  is  changed.  Sup- 
pose lor  instance,  that  the  colouring  matter  is 
cocliinca!,  if  we  use  the  aluminous  mordant, 
the  cloth  will  acquire  a crimson  colour  ; but 
the  oxide  of  iron  produces  Avith  it  a black. — 
Indigo  has  a very  strong  affinity  for  wool, 
silk,  cotton,  and  linen.  . Every  kind  of  cloth 
therefore  may  be  dyed  with  it  without  the  as- 
sistance of  any  mordant  whatever. 

MURIO  sulphate  of  TIN. 

This  preparation  differs  somewhat  from  the 
muriate  of  tin  or  nitro  muriate  of  tin.  It  is 
prepared  as  follows.  Take  six  ounces  of  mu- 
riatic acid  and  pour  it  upon  the  same  Aveight 
of  tin  granulated  in  a glass  A^essel.  Then  pour 
slowly  upon  the  same,  four  ounces  of  sulphuric 
acid,  and  let  it  stand  in  a warm  place  till  the 
acids  saturate  themselves  Aidth  tin  ; that  is, 
till  they  Avill  dissolve  no  more,  Avhich  Avill  soon 
be  effected  if  heat  be  applied,  and  gradually, 
witiioLit  being  heated. 

NlTRO  MURIATE  OF  TIN  MORE  PARTICULARLY 
DESCRIBED.' 

It  is  prepared  in  the  folloAving  manner. — • 
Melt  block  tin  and  pour  it  into  Avater,  briskly 
agitated  with  a bundle  of  small  rods,  take  of 
this  granulated  tin  two  ounces,  nitric  acid 
one  pound,  one  half  pound  common  salt,  or 
salamoniac  two  ounces,  mix  them  well  togeth- 


er  in  a glass  vessel  and  the  tin  will  be  slowly 
dissolved,  \yhen  comraon  salt  which  is  com- 
posed of  muriatic  acid,  and  soda  or  salamoniac 
composed  of  the  same  acid^  and  amonia,  is 
mixed  with  diluted  nitric  acid,  a part  of  the 
nitric  acid  seizes  on  the  soda  or  amonia  and 
setting  at  liberty  a part  of  the  muriatic  acid, 
Forms  nitro  muriatic  acid  (aqua  regia)  which 
will  dissolve  tin  or  gold. 

A TURKISH  BLUE. 

• 

Take  two  and  a half  ounces  cochineal,  ten 
ounces  aquafortis,  one  and  a half  of  English 
t\n,  and  a quarter  of  a pound  of  alum.  The 
silk  must  be  coloured  in  a keep  to  a medium 
blue.  This  being  done,  take  a kettle  contain- 
ing ten  buckets  of  water ; put  into  it  two  and 
a half  ounces  of  cochineal,  and  boil  it  well  for 
the  space  of  ten  minutes.  During  the  above 
process,  dissolve  the  tin  in  the  aquafortis  ac- 
cording to  art.  This  being  done,  ^pour  the 
solution,  together  with  a quarter  of  a pound 
of  alum,  into  the  above  mentioned  kettle  with 
ten  buckets  of  water.  Stir  this  liquor  well, 
and  immerse  the  silk  in  the  liquor;  work  it 
well  therein,  for  about  three  quarters  of  an 
hour — during  which  time  it  must  be  kept  'at  a 
steady,  slow,  continued  boil ; then  take  it  out, 
rinse  it,  wring  it,  fix  it  on  the  wringing  post, 
wring  and  beat  it  well,  which  will  restore  it  to 
its  natural  gloss  again. 

Note.  If  you  do  not  like  to  use  tbe  aqua- 


fortis  in  the  above  process,  you  may  substitute 
a quarter  of  a pound  of  cream  of  tartar,  and 
increase  the  quantity  of  alum  from  a quarter 
to  half  a pound. 

A HANDSOME  GREEN. 

Take  two  pounds  of  alum,  and  four  pounds 
of  quercitron  bark.  Take  for  this  purpose,  a 
kettle  with  eight  buckets  of  water,  and  dis- 
solve in  it,  two  pounds  of  alum,  then  pour  it 
into  the  tiTb  and  set  it  by,  until  it  is  wanted. 
While  you  are  engaged  in  preparing  this  so- 
lution, Ihe  silk  must  be  coloured  in  a cold 
keep  to  a handsome  light  blue  ; and  after  be- 
ing rinsed  in  a stream,  wring  and  steep  it  in 
the  above  mentioned  alum  liquor  ; Avork  well 
therein,  for  tvvo  hours;  then  take  it  out, 
Avring  it,  and  lay  it  by,  for  further  use.  Last- 
ly, put  four  pounds  quereitron  bark  into  a 
kettle  containing  eight  buckets  of  water  ; boil 
it  well  for  the  space  of  three  quarters  of  an 
hour,  and  pour  the  liquor  through  a sieve  into 
a tub.  At  the  same  time,  and  Avhile  this  is 
doing,  prepare  an  incorporation  of  indigo  and 
oil  vitrol,  (the  proportions  are  nine  or  ten 
parts  of  vitrol  to  one  of  indigo,  at  a tempera- 
ture of  100  degrees,)  and  pour  the  same  into 
the  quercitron  liquor  in  thed;ub,  and  stir  the 
Avhole  well.  Into  this  compounded  liquor, 
steep  the  silk,  and  Avork  well  therein  for  the 
space  of  half  an  hour,  then  take  it  out,  wu'ing 
and  dry  it.  In  case  the  silk  has  not  attained 


67 


as  handsome  a green  as  desired,  add  a small 
quantity  of  tumerick  to  the  yellow  liquor, 
which  will  have  the  desired  effect* 

MIXTURE  OF  BLUE  AND  YELLOW, 

This  forms  green  which  is  distinguished  by 
dyers  into  a variety  of  shades,  according  to 
the  depth  of  the  shade,  or  the  prevalence  of 
either  of  the  component  parts.  Thus,  we 
have  pea  green,  grass  green,  sea  green,  &:c. 
Wool  and  linen  are  usually  dyed  green,  by 
first  giving  them  a blue  colour,  and  afterwards 
dying  them  yellow;  because,  when  the  yellow 
is  first  given,  several  inconveniences  follow — 
the  yellow  partly  separates  again  in  the  blue 
vat,  and  communicates  a green  colour,  and 
thus  renders  it  useless  for  every  other  purpose 
except  dyeing  green.  Any  of  the  usual  pro- 
cesses for  dyeing  blue  and  yellow,  may  be 
used,  taking  care  to  proportion  the  depth  of 
the  shades  to  that  of  the  green  required. — ■ 
When  sulphate  of  indigo  is  employed,  it  is 
usual  to  mix  all  the  ingredients  together,  and 
to  dye  the  cloth  at  once.  This  produces  what 
is  known  by  the  name  of  Saxon  or  English 
green. 

MIXTURE  OF  BLUE  AND  RED. 

These  form  different  shades  of  violet,  pur- 
ple, and  lilac.  Wool  is  generally  dyed  blue, 
and  afterwards,  scarlet  in  the  usual  manner. 


By  means  of  cochineal,  mixed  with  sulphate 
of  indigo,  the  process  may  be  performed  at 
once.  Silk  is  first  dyed  crimson  by  means  of 
cochineal  ; and  then  dipped  into  the  indigo 
vat.  Cotton  and  linen  are  first  dyed  blue, 
then  galled  and  soaked  in  a decoction  of  log- 
wood. 

MIXTURES  OF  YELLOW  AND  RED. 

These  produce  orange.  When  blue  is  com= 
bined  with  red  and  yellow  on  cloth,  the  result- 
ing colour  is  olive.  Wool  may  be  dyed 
orange  by  first  dyeing  it  scarlet  and  then  yel- 
low. When  it  is  first  dyed  with  madder,  the 
result  is  cinnamon  colour.  Silk  may  be  dyed 
orange,  by  means  of  cavthamus,  a cinnamon 
colour,  by  logwood,  brazil  wood,  and  fustick, 
mixed  together.  Cotton  and  linen  receive  a 
cinnamon  colour,  by  means  of  weld  and  mad- 
der, and  an  olive  colour,  by  being  passed 
through  a blue,  yellow,  and  then  a madder 
bath. 

MIXTURES  OF  BLACK  WITH  OTHER  COLOURS. 

These  constitute  greys,  drabs,  and  browns. 
If  cloth  is  previously  combined  with  brown 
oxide  of  iron,  and  afterwards  dyed  yellow  with 
quercitron  bark,  the  result  will  be  a drab  of 
different  shades  according  to  the  proportion  of 
mordant  employed.  When  the  proportion  is 
small,  the  colour  inclines  to  olive,  or  yellow  ; 
bn  the  contrary,  the  drab  may  be  deepened 
or  saddened,  by  mixing  sumach  with  the  bark. 


09 


TURKEY  RED. 

First  impregnate  the  stuff  with  murio  sul- 
phate of  tin,  and  afterwards  dyeing  it  in  a bath 
composed  of  four  parts  of  cochineal,  and  four 
parts  quercitron  bark.  To  give  the  colour, 
more  body,  both  the  mordant  and  the  dye  may 
be  repeated.  A colour  approaching  scarlet 
may  also  be  given,  by  first  dyeing  in  crimson^ 
then  dyeing  it  with  carthamus,  and  lastly, 
yellow,  without  heat.  Cotton  and  linen  are 
dyed  red  with  madder.  The  cloth  is  first  im- 
pregnated with  oilj  then  with  galls,  and  lastly, 
with  alum  ; it  is  then  boiled  for  one  hour  in  a 
decoction  of  madder,  which  is  commonly 
mixed  with  a quantity  ofblood  ; after  the  cloth 
i«  dyed,  it  is  plunged  into  a soda  ley  in  order 
to  brighten  the  colour.  The  red  given  by  this 
process  is  very  permanent  and  beautiful.  The 
best  colouring  matters,  employed  for  dyeing 
red,  are  kermesj  cochineal,  archil  madder, 
carthamus  and  Brazil  wood.  None  of  the  red 
colouring  matters  have  so  strong  affinity  for 
cloth  as  to  produce  a permanent  red,  without 
the  assistance  of  mordants.  The  mordants 
employed,  are  alumina  and  oxide  of  tin  ; oil 
and  tan  in  certain  processes^  are  also  used,  and 
tartar  and  muriate  of  soda  are  frequently  called 
in  as  auxiliaries. 

DYEING  BLUE. 

Take  of  indigo  well  powdered  one  ounce, 
quick  lime  one  ounce,  potash  two  ounces,  mo- 


lasses  half  a pint,  warm  water  one  gallon. — 
Mix  and  stir  occasionally,  keeping  the  vessel 
of  copper,  iron,  or  earthern,  well  covered  in  a 
warm  place.  The  liquor  will  soon  become 
green,  covered  with  a copper  coloured,  or  blue 
scum  ; in  twenty  four  hours,  it  will  be  fit  for 
use.  Immerse  the  stuff  to  be  coloured,  for  a 
longer  or  shorter  time,  according  to  the  shade 
required.  The  strength  of  the  colour  may  also 
be  varied,  by  using  a greater  or  less  quantity  of 
water.  A very  little  practice  will  enable  any 
one  to  give  wool,  silk,  or  cotton,  properly  pre- 
pared, with  this  dye,  a beautiful  and  permanent 
blue  of  any  shade  they  may  choose. 

saxOn  blue. 

In  this  method,  the  indigo  is  dissolved  by  the 
aid  of  sulphuric  acid  without  losing  its  blue  col- 
our, but  it  undergoes  a cliange,  which  renders 
it  less  permanent,  and  is  therefore,  not  used 
except  for  articles  not  very  durable,  or  when 
a deep  unfading  tint  is  not  considered  of  much 
importance*  This  preparation  is  kept  in  the 
shops,  under  the  name  of  liquid  blue,  or  chem- 
ical blue,  and  is  much  used  for  blueing  white 
cotton,  and  linen  garments,  for  which  it  is 
readily  washed  out  even  in  cold  water.  It  is 
also  extensively  used  in  colouring  greens,  giv- 
ing with  yellow  a more  brilliant  colour,  than 
the  blue  obtained  by  the  first  method.  On 
wool  and  silk  it  is  much  more  durable  than  on 
cotton  ; and  on  articles  which  do  not  retpiiie 


71 

frequent  wasliiiig’,  may  be  often  used  advanta^ 
ffeoLisly  as  a blue  dye.  It  is  prepared  as  fol- 
lows. Take  indigo  one  ounce,  well  pow- 
dered,  sulphuric  acid  four  ounces,  mix  it  in  a 
glass  or  stone  ware  vessel,  and  let  it  stand 
twenty  four  hours,  stirring  it  occasionally ; 
then  add  one  ounce  dried  potash.  Let  it  stand 
twenty  four  hours  longer,  add  half  a pint  of 
water,  and  bottle  it  up  for  use.  Mix  a wine 
glass  full  of  this  liquid  in  a pail  full  of  boiling 
water,  and  dip  the  stuffs  till  they  acquire  the 
colour  desired.  More  of  the  liquor  must  be 
added  when  the  water  becomes  nearly  clear, 
before  the  stuffs  have  acquired  a colour  suffi- 
ciently deep. 

BLUE  FOR  COLOURING  SILK. 

The  quantity  of  the  necessary  ingredients 
for  this  colour,  must  be  regulated  according 
to  the  quantity  of  the  silk  to  be  coloured.— 
Take  filings  of  copper  free  from  all  alloy  of 
other  metals  ; it  is  best,  therefore,  to  rasp  or 
file  them,  yourself,  in  order  to  obtain  them 
pure.  Put  these  into  a glass  vessel,  pour  spi- 
rits of  salt,  sufficient  to  cover  them  twice  as 
deep,  as  the  space  they  occupy ; let  them 
stand  twenty  four  hours,  or  as  long  as  neces- 
sary for  the  spirits  of  salt  to  obtain  a blue  or 
green  colour.  Then  pour  off  the  clear  part 
of  the  coloured  spirits  of  salt  into  another  glass 
vessel  and  add  fresh  spirits  of  salt  to  the  cop- 
per filings,  and  continue  this  process  until  the 


wliole  of  the  copper  filings  have  been  dissolved, 
when  nothing  but  the  earthy  and  impure  part# 
will  remain.  Mix  all  these  several  blue,  or 
deep  green  coloured  solutions  of  copper,  and 
add  thereto  as  much  spirits  of  amonia  as  will 
be  necessary  to  saturate  the  mixture.  Then 
moisten  the  silk  in  warm  water,  but  be  care-r 
ful  to  do  this  in  such  a manner,  that  all  parts 
will  be  completely  soaked  in  the  water,  then 
wring  it,  and  steep  in  the  blue  tincture,  pre- 
pared as  above  directed,  work  therein  until  it 
has  attained  a handsome  ultramarine  colour, 
then  take  it  out,  wring  well,  rinse  it  in  a 
stream,  and  dry  it  in  the  shade.  By  minutely 
observing  the  above  process,  you  will  obtain 
a very  handsome  blue  colour. 

DARK  BLUE  FOR  SILK. 

Take  one  and  a half  ounces  of  indigo, 
twelve  ounces  of  oil  vitrol,  one  pound  and  a 
quarter  of  alum,  four  pounds  of  logwood. — 
The  greatest  attention  and  accuracy  in  the 
process  of  dyeing  this  colour,  is  necessary. — 
Before  you  proceed  to  the  dyeing,  prepare  a 
solution  of  indigo,  in  oil  vitrol,  in  the  follow- 
ing manner.  Powder  very  finely  and  sift  one 
and  a half  ounces  of  indigo,  and  put  three 
quarters  of  a pound  of  oil  of  vitrol  in  a stone 
jar;  add  the  pulverized  indigo  to  it ; stir  the 
whole  well,  with  an  earthern  pipe  stem,  or 
some  similar  earthern  article,  and  continue 
fhe  stirring  until  the  oil  of  vitrol  ceases  to  fer- 


73 


i ment ; the  mixture  having  become  quiet,  set  it 
\ by  for  the  space  of  twenty  four  hours ; at  the 
expiration  of  this  time,  a little  water  must  be 
added,  and  the  wdiole  matter  stirred  again,  by 
which  it  will  receive  new  life  and  vigour  ; af- 
ter which,  it  must  be  set  away  undisturbed 
until  it  is  to  be"  applied  to  the  dyeing  of  the 
silk.  After  this,  prepare  a kettle,  with  eight 
buckets  of  water,  put  into  it  one  and  a quarter 
pounds  of  alum,  and  dissolve  it  completely 
therein.  This  being  done,  pour  the  solution 
into  a pail,  steep  the  silk  in  the  solution,  and 
w’ork  it  vrell  therein  for  an  hour.  After  which, 
take  it  out,  wring  it,  and  lay  it  by  in  its  wet 
state  for  further  use.  This  being  done,  put 
eight  buckets  of  water  in  a kettle,  pour  the 
solution  of  indigo  into  it,  and  mix  it  well  by 
stirring  : work  the  silk  w^ell  in  this  blue  liquor, 
for  the  space  of  half  an  hour,  then  take  it  out 
and  rinse  it  in  running  ^wa.ter,  wring  it,  and 
lay  it  by,  in  its  wet  state  for  further  use.  By 
this  process,  the  silk  will  receive  a handsome 
light  blue  colour.  To  deepen  this  blue,  or  to 
change  it  to  a dark  blue,  take  a kettle  with 
sixteen  buckets  of  water  and  bring  it  to  a boil- 
ing heat,  then  put  into  it  four  pounds  logwood 
and  boil  it  well  for  abbut  three  quarters  of  an 
hour  ; then  take  out  one  half  of  the  liquor  and 
run  it  through  a sieve  into  a tub  ; let  the  other 
half  remain  in  the  kettle  for  further  use  ; put 
into  the, liquor,  in  the  tub,  a quarter  of  a pound 
of  alum,  which  has  previously  been  dissolved 
in  some  vessel ; stir  the  whole  well  ; steep  the  , 
7 


74 


light  blue  silk  in  it,  and  work  it  well,  in  the 
liquor,  a quarter  of  an  hour,  then  take  it  out, 
wring  it,  and  keep  it  in  its  wet  state,  for  fur- 
ther use,  and  throw  out  the  liquor  as  useless. 
Lastly,  pour  into  another  vat,  the  remaining 
eight  buckets  of  the  logwood  liquor,  left  in  the 
kettle,  after  first  having  run  it  flirough  a sieve; 
steep  the  silk  in  the  liquor  and  work  it  well, 
for  the  space  of  half  an  hour;  then  take  it  out, 
rinse  it  in  running  water,  wring  and  dry  it. — 
By  the  above  process,  you  will  obtain  a dark 
blue,  equal  to  any  of  the  blues  which  have 
been  coloured  by  means  of  the  keep.  The 
above  blue  is  likewise  applicable  to  the  dyeing 
of  any  other  goods. 

VIOLET  BLUE. 

Take  one  ounce  indigo,  twelve  ounces  oil 
vitrol,  one  quarter  pound  of  alum,  four  pounds 
logwood,  one  pound  red  wood.  The  indigo 
must  be  dissolved  in  the  oil  vitrol,  as  directed 
in  the  foregoing  receipt,  and  kept  ready  for 
use.  Dissolve  in  a kettle  with  eight  buckets 
of  water,  a pound  and  one  quarter  of  alum; 
then  pour  the  solution  into  a tub  and  w'ork  the 
silk  well  therein,  for  the  space  of  one  hour  ; 
take  it  out,  wring  and  keep  it  in  its  wet  state, 
for  further  use.  Fill  a vat  with  eight  buckets 
of  water  ; put  the  above  solution  of  indigo  into 
it ; stir  the  whole  well,  work  the  alum  dressed 
silk  therein,  for  the  space  of  half  an  hour  ; 
then  take  it  out,  rinse  it  in  running  water, 


75 


( 


V.  l ing  it,  and  set  it  by  for  further  use.  Lastly, 
take  a kettle  with  eight  buckets  of  water,  put 
into  it  four  pounds  logwood,  and  one  pound 
red  wc^d,  and  boil  the  whole,  three  quarters 
of  an  hour  ; then  run  the  decoction,  through  a 
sieve  into  a vat  ; steep  the  blue  coloured  silk 
in  it,  and  work  it  well,  for  half  an  hour  ; take 
it  out,  and  rinse  it  in  running  water, — wring 
and  dry  it. 

A HANDSOME  BLUE. 

One  part  of  indigo  is  to  be  dissolved  in  four 
parts  of  concentrated  sulphuric  acid  ; to  the 
solution,  one  part  carbonate  of  potash  is  to  be 
added,  and  then  it  is  to  be  diluted  with  eight 
times  its  weight  of  water.  The  cloth  must  be 
boiled  for  one  hour  in  a solution,  containing 
five  parts  alum,  and  three  of  tartar,  for  every 
thirty  two  parts  cloth.  It  is  then  to  be  thrown 
into  a water  bath,  containing  a greater  or 
smaller  proportion  of  the  diluted  sulphate  of 
indigo,  according  to  the  shade  which  the  cloth 
is  intended  to  receive.  -In  this  bath,  it  must 
be  boiled  till  it  has  acquired  the  wished  for 
colour.  The  alum  and  tartar  are  not  intended 
to  act  as  mordants,  but  to  facilitate  the  decom- 
position of  the  sulphate  of  indigo.  The  alkali, 
added  to  the  sulphate,  answers  the  same  pur- 
pose. These  substances  also,  by  saturating 
part  of  the  sulphuric  acid,  serve  in  some 
measure  to  prevent  the  texture  of  the  cloth 
from  being  injured,  by  the  action  of  the  acid, 


76 


which  is  very  apt  to  happen  in  this  process. — 
But  sulphate  of  indigo  is  by  no  means  the  only 
solution  of  that  pigment,  employed  in  dyeing. 
By  far  the  most  common  method  is  to  deprive 
indigo  of  the  oxygen,  to  which  it  owes  its  blue 
colour,  and  thus  reduce  it  to  the  state  of  green 
pollen,  and  then,  to  dissolve  in  water,  by 
means  of  alkalies,  or  alkaline  earths,  which  in 
that  state,  act  upon  it  very  readily.  Two  dif- 
ferent methods  are  employed  for  this  purpose. 
The  first  of  these  methods,  is  to  mix  with  in- 
digo, a solution  of  some  substance,  which  has 
a stronger  affinity  for  oxygen,  than  the  green 
basis  of  indigo, — green  oxide  for  instance,  and 
different  metalic  sulphurates.  If  therefore, 
indigo,  lime,  and  green  sulphate  of  iron,  are 
mixed  together  in  water,  the  indigo  gradually 
loses  its  blue  colour,  becomes  green  and  is  dis- 
solved ; while  the  green  oxide  of  iron  is  con- 
verted into  the  red  oxide.  The  manner  in 
which  these  changes  take  place,  is  obvious  ; 
part  of  the  lime  decomposes  the  sulphate  of 
iron  ; the  green  oxide,  the  instant  that  it  is  set 
at  liberty,  attracts  oxygen  from  the  indigo, 
decomposes  it,  and  reduces  it  to  a state  of 
green  pollen.  This  green  pollen  is  immedi- 
ately dissolved  by  the  action  of  the  rest  of  the 
lime.  The  second  method  is  to  mix  the  indi- 
go in  water,  with  certain  vegetable  substances 
which  readily  undergo  fermentation.  During 
this  fermentation,  the  indigo  is  deprived  of  its 
oxygen  and  dissolves  by  means  of  quick  lime, 
or  alkali,  which  is  added  to  the  solution. — 


T7 

The  first  of  these  methods,  is  usually  followed 
in  dyeing  cotton  and  linen — the  second,  in 
dyeing  wool  and  silk.  In  the  dyeing  of  wool, 
woad\indbran  are  commonly  employed,  as 
vegetable  ferments,  and  lime,  as  the  solvent 
of  the  green  base  of  the  indigo.  Woad  itself, 
contains  a colouring  matter  precisely  similar 
to  indigo,  and  by  following  the  common  pro- 
cess, indigo  may  be  extracted  from  it.  When 
the  cloth  is  first  taken  out  of  the  vat,  it  is  of  a 
green  colour  ; but  it  soon  becomes  blue,  by 
attracting  oxygen  from  the  air.  It  ought  to 
'^be  carefully  washed  to  carry  off  the  uncom- 
bined particles. 

LIGHT  BLUE  FOR  SILK. 

Silk  is  dyed  light  blue,  by  a ferment  of  six 
quarts  of  bran,  six  of  indigo,  six  of  potass,  and 
one  of  madder.  To  dye  it  of  a dark  blue,  it 
must  previously  receive  what  is  called,  a 
ground  colour  ; a red  dye  stuff,  called  archil, 
is  used  for  this  purpose. 

BLACK. 

The  substances  employed  to  give  a black 
colour  to  cloth,  are  red  oxide  of  iron  and  tan. 
These  two  substances  have  a strong  affinity 
for  each  other,  and  when  combined,  assume  a 
deep  black  colour,  not  liable  to  be  destroyed, 
by  the  action  of  air  or  light.  Logwood  is 
usually  used  as  an  auxiliary,  because  it  com- 


78 


inunicates  lustre,  and  adds  to  the  fulness  of  the 
black.  Cloth  before  it  veceives  a black  colour 
is  usually  dyed  blue  ; this  renders  the  colour 
much  fuller  and  finer.  If  the  cloth  is  coarse j 
the  blue  dye  may  be  too  expensive ; in  that 
case,  a brown  colour  is  given,  by  means  of 
walnut  peels.  Wool  is  dyed  black  by  the  fol- 
lowing process.  It  is  boiled  for  two  hours  in 
a decoction  of  nutgalls,  and  afterwards  kept 
for  two  hours  more,  in  a bath  composed  of 
logwood  and  sulphate  of  iron,  kept  the  whole 
time  at  a scalding  heat,  but  not  boiled  ; during 
the  operation  it  must  be  frequently  exposed  to 
the  air.  The  common  proportions  are  five 
parts  of  galls,  five  of  sulphate  of  iron, and  thirty 
of  logwood,  for  every  hundred  of  cloth.  A 
little  acetate  of  copper  is  added  to  the  sulphate 
of  iron  ; it  is  thought  to  improve  the  colour 
continued  on  cloth,  previously  coloured  blue 
with  indigo,  take  dried  maple  bark  twelve  oun- 
ces, or  one  pound  if  green,  logv/ood  six  ounces^ 
elm  bark  eight  ounces,  and  boil  them  in  two 
gallons  of  water  for  one  hour.  Take  out  the 
bark,  immerse  the  cloth,  and  boil  another 
hour.  Then  take  five  ounces  of  copperas, 
dissolve  in  two  quarts  of  water,  and  add  it 
slowly  to  the  liquor  in  the  boiler.  The  cloth 
should  be  kept  continually  turning  in  the  boil- 
ing liquor,  for  tv/o  hours.  Take  it  ouf,'  cool 
it,  and  again  soak  it  in  boiling  w'ater,  to  which 
a small  quantity  of  ox  gall  has  been  added, 
another  hour.  Rinse  it  out,  and  scour  it  well, 
with  hot  water  and  hard  soap.  Cloths  not 


79 


coJoured  with  indigo  will  take  a good  black,  if 
the  quantity  of  logwood  be  increased,  and  the 
decoction  of  the  bark,  &-c.  be  many  times  re- 
peated. 

BLACK  ON  SILK. 

The  fibres  of  silk,  do  not  so  readily  receive 
the  black  dye  as  those  of  wool.  What  the  wool 
dyer  effects  by  three  or  four  dippings,  the  silk 
dyer  scarcely  obtains  from  twenty.  As  the  af- 
finity of  the  silk,  for  the  soluble  part  of  the 
galls  or  maple  bark,  is  greater  than  with  iron, 
it  is  thought  most  advantageous  to  begin  by 
boiling  about  one  half  as  much  in  weight  of  the 
galls,  or  bark,  as  of  the  silk  to  be  dried,  in  a 
suitable  quantity  of  water,  for  three  hours. — 
Let  it  settle,  pour  oft’  the  clear  liquor,  and 
macerate  the  silk  in  the  same  for  twenty  four 
hours.  Being  dried  and  slightly  rinsed,  the 
silk,  if  afterwards  immersed  in  solution  of  the 
sulphate  of  copperas  moderately  warmed,  and 
kept  therein,  twelve  hours ; after  which,  it 
should  be  rinsed  and  immersed  in  a warm  de- 
coction of  logwood,  for  several  hours;  again 
immersed  in  the  solution  ofiron,  rinsed  again, 
transferred  to  the  decoction  of  bark,  &:.c. — re- 
peating these  alternate  immersions  till  the  de- 
sired colour  shall  have  been  produced.  Iron 
dissolved  in  vinegar  is  still  better  than  copper- 
as. A black  vat  may  be  easily  prepared  for 
colouring  silk,  by  immersing  in  vinegar,  old 
iron  hoops,  turnings  of  iron,  to  which  may  be 


added  maple  bark,  sLimach,  oak,  alder  bark, 
^c.  and  left  to  undergo  a gradual  solution. — 
The  longer  the  liquor  is  kept,  the  better.  By 
repeated  dippings  in  black  dyes,  silk  may  be 
made  to  acquire  nearly  a fourth  part  more  in 
weight, than  it  possessed  before  its  natural  gum 
had  been  separated  by  the  boiling  with  soap  ; 
a process  to  which  all  new  silk  should  be  sub- 
jected before  it  is  coloured.  But  the  colour 
produced  by  this  excess  of  black,  is  not  so 
good  as  it  is,  when  no  such  excess  has  been 
employed.  As  soon  therefore,  as  the  silk  be- 
comes sufficiently  coloured,  judging  by  the 
eye,  it  should  be'rinsed  out  and  passed  through 
a bath,  containing  at  the  rate  of  one  pound 
starch,  and  half  a pound  linseed  oil,  well 
mixed  with  six  quarts  warm  water. 

YELLOW. 

To  dye  ten  pounds  of  cloth  or  woollen  stuffs, 
of  the  highest  and  most  beautiful  orange  col- 
our, one  pound  of  quercitron  bark,  and  the 
same  weight  of  miirio  sulphate  of  tin,  will  be 
required.  (This  preparation  differs  somewhat 
from  the  muriate  of  tin,)  the  method  of  pre- 
paring, is  as  follows.  Take  six  ounces  of 
muriatic  acid,  and  pour  it  upon  the  same 
weight  of  tin,  granulated  as  above  directed  in 
a glass  vessel.  Then  pour  slowly  upon  the 
same,  four  ounces  of  sulphuric  acid,  and  let  it 
stand  in  a warm  place,  till  the  acids  saturate 
themselves  with  tin  ; that  is,  till  they  will  dis- 


solve  no  more.  The  bark,  powdered  and  tied 
up  in  a bag  of  thin  cotton  or  linen  cloth,  may 
be  first  put  into  the  dyeing  vessel,  which  of 
course,  must  be  brass  or  copper,  glass  or  earth- 
ern,  with  hot  water,  for  the  space  of  six  or 
eight  minutes  ; then  the  murio  sulphate  of  tin 
may  be  added,  and  the  mixture  well  stirred 
two  or  three  minutes.  The  cloth  previously 
wet  with  warm  water  may  be  put  in,  and 
turned  briskly  a few  minutes  ; the  colour  ap- 
plies itself  in  this  way,  so  equally  to  the  cloth, 
and  so  quickly,  that  after  the  liquor  begins  to 
boil,  the  highest  yellow  may  be  produced  in 
less  than  fifteen  minutes,  without  any  danger 
of  its  proving  uneven.  Should  a deeper  orange 
tint  be  desirable,  add  to  the  quercitron  bark, 
a little  madder,  perhaps  an  ounce  to  the  pound 
of  bark,  according  to  the  colour  desired. — 
When  a bright  golden  yellow  approaching  less 
to  the  orange,  is  wanted,  four  ounces  of  the 
murio  sulphate  of  tin,  and  two  ounces  of  alum, 
and  one  pound  of  bark,  managed  in  the  same 
manner  as  above  directed.  A good  yellow 
may  also  be  produced,  by  boiling  the  cloth  for 
one  hour,  in  one  seventh  of  its  weight  in  alum, 
dissolved  in  a suitable  quantity  of  water,  and 
then,  without  being  rinsed,  put  into  a dyeing' 
vessel,  with  clean,  hot  water,  and  about  as 
much  quercitron  bark,  tied  up  in  a bag,  as  was 
used  of  alum.  Boil  and  turn  it  as  usual,  until 
it  takes  sufficient  colour;  then  dip  in  warm 
lime  water,  for  ten  minutes,  and  rinse  it  well, 
immediately  afterwards.  Tin  however,  dis- 


solved  when  used  in  colouring  wool  or  silk^ 
renders  the  fibres  a little  harsh,  but  this  may  be 
in  a great  measure  obviated  by  employing  the 
murio  sulphate  of  tin,  with  a mixture  of  alum, 
or  alum  and  tartar,  and  combining  these  with 
the  colouring  particles  orthe  bark,  before  they 
are  applied  to  the  stuffs.  In  dyeing  silks, 
more  alum  and  less  tin,  should  be  used,  than 
is  directed  for  woollens.  To  produce  a lively 
yellow  on  silks,  it  will  be  sufficient  to  boil  after 
the  rate  of  four  ounces  of  bark,  three  ounces 
of  alum,  and  two  ounces  of  the  murio  sulphate 
of  tin,  with  a suitable  quantity  of  water,  for 
ten  or  fifteen  minutes,  and  the  heat  of  the 
liquor  being  reduced,  so  that  the  hand  can 
bear  it, — the  silk  is  to  be  put  in,  and  dyed  as 
usual,  taking  care  to  agitate  the  liquor  contin- 
ually, that  the  colouring  matter  may  not  sub- 
side until  it  ha's  acquired  the  proper  shade. — 
By  adding  very  small  proportions  of  cochineal 
to  the  iTark,  the  colour  may  be  raised  to  a 
beautiful  orange.  A similar  effecti  though  less 
brilliant,  is  produced  by  adding  madder  to  the 
quercitron. 


A HANDSOME  YELLOW'. 

Take  one  pound  and  a quarter  of  alum, 
tw'enty  pounds  of  common  lady’s  (St.  Mary’s) 
thistle,  one  half  pound  of  woad  ashes.  Dissolve 
the  alum  in  a kettle  containing  ten  buckets  of 
water,  pour  the  solution  into  a vat,  fix  your 
silk  upon  rods,  in  the  usual  way;  steep  it  in 


83 


die  soliitioiij  work  it  well  therein,  for  one  iiourj 
take  it,  wring  it,  and  lay  it  aside  wet  for  fur- 
ther use.  This  being  done,  put  ten  buckets  of 
water  in  a kettle,  add  the  St.  Mary’s  thistle, 
and  boil  well  for  an  hour,  run  the  decoction 
thivough  a sieve,  into  a pail  to  separate  the 
coarse  from  it ; let  it  cool  until  you  will  be 
able  to  bear  your  hands  in  it ; steep  the  silk  in 
the  liquor,  work  well  therein,  for  half  an  hour  ; 
then  take  it  out,  tvringit,  and  lay  it  aside  for 
further  use.  The  pails  or  vessels,  in  which 
you  dress  the  silk  with  alum,  and  in  which  the 
liquor  is,  must  be  filled,  and  kept  full  during 
the  process  of  working  it,  to  within  a few  inch- 
es of  the  top,  and  should  there  be  occasion  to 
fill  them  up,  care  must  be  taken  not  to  make 
it  too  cool ; but  preserve  it  all  times,  with  a 
degree  of  heat,  in  which  the  hand  can  barely 
beheld.  While  this  is  doing,  the  St.  Mary’s 
thistle  must  be  put  into  the  kettle  a second 
time,  with  fresh  water,  and  be  boiled  again. 
Then  take  out  the  silk,  dip  out  some  of  the 
liquor  in  which  you  had  previously  worked  the 
silk,  and  add  as  much  of  the  liquor  of  the  sec- 
ond boiling  to  it,  as  was  taken  therefrom  ; so 
that  the  first  quantity  will  be  preserved.  The 
liquor  must  now,  as  well  as  each  time,  before 
you  steep,  the  silk  in  it,  be  stirred  well  ; then 
steep  the  silk  in  the  liquor  again,  and  work  it 
well  therein,  for  half  an  hour.  The  liquor 
may,  in  this  latter  process,  be  made  a little 
hotter  than  it  was  imthe  first,  but  be  cautious, 
not  to  make  it  too  hot.  During  this  second 


8'4 


process,  the  woad  ashes  are  to  be  dissolved  in 
a kettle  into  which  yon  have  poured  some  of 
the  liquor  of  the  second  colouring,  boiling  hot ; 
stir  the  liquor  and  woad  ashes,  well,  and  then 
let  it  settle.  This  being  done,  pour  some  of 
the  clear  part  of  the  solution  into  the  yellow 
liquor,  after  having  first  taken  out  the  silk; 
stir  the  whole  of  it  well,  steep  the  silk  in  it 
again,  and  work  it  well  therein,  fifteen  min- 
utes. At  the  expiration  of  this  time,  or  sooner 
as  you^may  deem  it  necessary,  take  out  a small 
quantity  of  the  silk,  wring,  and  examine  it, 
whether  it  has  attained  the  required  colour  ; 
should  this  not  be  the  case,  a small  quantity 
of  the  solution  of  the  woad  ashes  must  be  add- 
ed to  the  liquor  ; the  silk  steeped  in  it  again, 
and  well  worked  in  the  same,  until  the  re- 
quired colour  be  obtained. 

A CITRON  YELLOW. 

Take  one  pound  and  a quarter  of  alum, 
eight  pounds  of  safflower.  Dissolve  the  alum 
in  a kettle  containing  ten  buckets  of  water ; 
then  pour  the  solution  into  a vat,  steep  the 
silk  in  it,  work  it  well  therein,  half  an  hour, 
wring,  and  lay  it  by,  in  its  wet  state  for  farther 
use,  and  throw  away  the  solution  as  useless. 
Put  again,  ten  buckets  of  fresh  water  in  the 
kettle,  add  eight  pounds  of  safflower,  and  a 
quarter  of  a pound  of  alum  ; let  if  boil  for  half 
an  hour,  run  the  decoction  through  a sieve, 
into  a vat,  steep  the  silk  in  the  liquor,  work  it 


well  therein,  a quarter  of  an  hour,  wring,  anti 
dry  it.  With  the  rest  of  tlie  above  liquor,  a 
pale  yellow  may  yet  be  dyed. 

A CITRON  YELLOW  WHICH  MAY  BE  HEIGHTENED 
TO  A HANDSOME  GOLD  TINT. 

Take  one  pound  and  a quarter  of  alum, 
fourteen  pounds  safflower.  Put  ten  buckets  of 
water  in  a kettle,  add  one  pound  and  a quarter 
of  alum  ; dissolve  it  therein,  pour  the  solution 
into  a vat,  and  Avork  the  silk  in  the  solution  for 
about  half  an  hour,  wring,  and  lay  it  by  in  its 
wet  state  for  further  use.  This  being  done, 
pour  ten  buckets  of  fresh  M'ater  into  the  kettle, 
add  seven  pounds  of  safflower,  and  boil  it  half 
an  hour,  pour  the  liquor  through  a sieve,  into 
a vat,  and  work  it  well  therein,  for  the  space 
of  fifteen  minutes  ; then  wring  and  dry  it.  The 
yellow  liquor  is  now  to  be  poured  back  into  the 
kettle,  the  remaining  seven  pounds  of  the  saf- 
flower to  be  put  into  it,  together  with  one  quar- 
ter of  a pound  of  alum,  and  the  whole  to  be 
boiled  half  an  hour ; then  pour  the  liquor 
through  a sieve,  into  a pail,  work  the  silk  in 
the  liquor  for  half  an  hour,  wring,  and  dry  it, 
and  then  beat  it  well.  By  the  above  process, 
a handsome  citron  colour  will  be  obtained. 

A HIGH  COLOURED  CRIMSON. 

Take  one  pound  and  a quarter  of  cochineal, 
one  pound  of  galls,  four  ounces  of  cream  of 
8 


tartar,  and  two  pounds  and  a half  of  Roman 
ahira.  Dissolve  two  and  a half  pounds  of  alum 
in  a kettle,  with  ten  buckets  of  water  ; pour 
the  clear  part  of  this  solution  into  a vat,  im- 
merse the  silk  in  it,  and  work  it  well  therein, 
for  the  space  of  four  hours;  then  take  it  out 
and  rinse,  in  running  water,  wring  it,  and  lay 
it  bj,  for  further  use  in  its  wet  state  ; then  put 
in  a kettle  containing  eight  buckets  of  boil- 
ing water,  the  following  articles  : — One  and  a 
quarter  pounds  of  finely  powdered  cochineal, 
one  pound  of  finely  powdered  gall  nuts,  and 
four  ounces  of  cream  of  tartar.  Let  the  whole 
boil  slowly,  for  the  space  of  fifteen  minutes  ; 
cool  it  with  two  buckets  of  water,  work  it  Well 
in  the  liquor,  which  must  be  kept  in  a contin- 
ual boil,  for  the  space  of  one  hour  and  a half ; 
then  take  it  out,  rinse  it,  and  let  it  dry,  wdien 
the  dyeing  will  be  completed. 

For  a cheaper  colour  than  the  foregoing, 
reduce  the  quantity  of  cochineal  from  one  and 
a quarter  pounds  to  ten  ounces,  and  substitute 
for  the  remainder,  three  pounds  of  persio  ; 
and  proceed  with  these  materials,  in  the  same 
manner  as  above  directed.  This  colour  will 
differ  from  that  of  the  first  described  processj 
in  no  other  respect,  than  that  it  receives  some- 
what more  of  a blueish  cast. 

A HANDSOME  CRIMSON. 

Take  three  pounds  of  Roman  alum,  half  an 
ounce  of  argoi,  half  a pound  of  East  India 


galls,  twenty  five  ounces  of  cochineal.  Heat 
eight  buckets  of  rain  water  in  a kettle  luke- 
warm ; put  it  into  three  pounds  of  Roman  al- 
um, dissolve  it  therein,  take  out  the  solution, 
and  put  it  into  a pail ; immerse  the  silk  in  the 
solution,  and  work  it  well  therein,  for  the 
space  of  eight  hours.  Take  it  out  at  the  expi- 
ration of  this  time,  wring  lightly,  and  lay  it  by 
for  further  use  in  its  wet  state.  To  complete 
this  colour,  heat  eight  buckets  of  well  or  spring 
water,  until  it  begins  to  boil;  put  into  it  the 
following  articles  : — half  an  ounce  of  argol, 
and  half  a pound  of  finely  powdered  East  In- 
dia galls;  let  the  whole  of  these  articles  boil 
well  for  about  ten  minutes,  and  run  the  liquor 
through  a sieve  into  a pail ; then  pour  the  li- 
quor back  into  the  kettle,  and  put  into  it  twen- 
ty five  ounces  of  pulverized  cochineal ; let  it 
boil  ten  minules  more,  cool  the  liquor  with 
half  a bucket  of  water  ; immerse  the  silk  in 
this  liquor,  and  work  it  well  therein  for  the 
space  of  two  hours  ; during  which  time,  the 
liquor  must  be  kept  at  a continual  boil.  This 
being  done,  take  it  out,  rinse  it  well,  wring  it 
strongly,  and  dry  it.  Then  take  a kettle  with 
ten  buckets  of  spring  or  well  water,  and  heat 
it  so  that  you  may  bear  your  hand  in  it : work 
the  silk  well  in  this  water,  for  half  an  hour, 
then  take  it  out  and  wring  it  and  dry  it.  By 
this  process  we  obtain  a very  handsome  crim- 
son. 

Note.  An  ounce,  instead  of  half  an  ounce 
of  argol  may  be  used  ; but  this  is  left  entirely 


88 


to  the  Judgment  of  the  djer,  Avhether  found 
necessary  or  not.  If  this  crimson  be  desired 
less  of  a red,  and  not  so  handsome,  proceed 
with  the  cochineal ; and  the  quantity  pre- 
scribed above  maybe  reduced  to  eighteen  oun- 
ces. The  process  must  be,  in  this  case,  the 
same  as  above  directed. 

A DEEP  RED. 

Take  one  pound  of  fine  galls,  two  jiounds 
and  a half  of  alum,  half  pound  of  composition, 
and  five  pounds  of  madder.  Put  into  a kettle 
eight  buckets  of  water,  and  one  pound  of  fine 
galls  ; let  it  boil  about  fifteen  minutes,  or  until 
the  strength  is  extracted  ; take  it  out,  run  it 
through  a sieve  into  a vat,  steep  the  silk  in  this 
decoction,  and  work  it  well  therein,  for  about 
two  hours  ; after  which,  take  out,  rinse,  and 
dry  it.  Then  put  into  a kettle  eight  buckets 
of  water,  with  two  and  a half  pounds  of  alum, 
and  half  a pound  of  the  composition  ; let  these 
be  properly  united  with  the  water  ; pour  the 
liquor  into  a vat,  steep  the  silk  in  the  solution, 
and  work  it  well  therein,  for  the  space  of  four 
hours  ; take  it  out,  rinse  it,  and  lay  it  by  in  its 
wet  state,  for  further  use.  Lastly,  to  complete 
this  colour,  put  in  a kettle  ten  buckets  of 
water,  add  five  pounds  of  madder,  and  work 
the  silk  well  in  this  liquor,  until  it  begins  to 
hoil ; then  take  it  out,  rinse  it  and  dry  it^ 


89 


A REAL  BROWN. 

. six  o'jiices  of  anuotto,  one  pound  of 

potasli,  tiiree  pounds  of  alum,  five  ounces  of 
fine  galls,  half  an  ounce  of  cream  tartar,  two 
ounces  of  turmeric,  and  ten  ounces  of  coclii» 
neal.  Boil  a kettle  with  ten  buckets  of  water;, 
powder  six  ounces  of  annotto  and  put  it  toge- 
ther, with  a pound  of  potash,  into  the  kettlcj 
boil  for  a quarter  of  an  hour,  pour  the  liquor 
through  a sieve  into  a tub,  immerse  tlte  silk 
and  work  it  well  in  the  liquor,  for  the  space  of 
two  hours  ; then  take  it  out,  rinse,  wring,  and 
dry  it.  After  this,  pour  eight  buckets  of  fresh 
w'aterinto  a kettle,  add  three  pounds  of  alum, 
and  dissolve  it  therein,  then  put  the  solution 
in  a vat,  steep  the  dried  yellow  silk,  and  work 
it  well  therein,  for  the  space  of  three  hours, 
then  take  it  out,  wu-ing  it  and  lay  it  by  wet,  for 
further  use.  This  being  done,  prepare  a kettle 
wuth  eight  buckets  of  water,  and  bring  it  to 
boil;  put  into  it  ten  ounces  of  cochineal,  and 
let  it  boil  for  about  ten  minutes  ; then  cool  the 
liquor  with  a bucket  of  water,  and  put  into  it 
a quarter  of  a pound  of  cream  of  tartar,  and 
two  ounces  of  turmeric,  and  stir  the  whole 
well;  then  steep  the  silk,  previously  aiumed, 
in  the  liquor,  work  it  well  therein,  for  the 
space  of  two  hours  ; during  which  time,  it 
must  be  kept  in  a continual  boil.  This  being 
done,  take  it  out,  rinse  it  in  running  water, 
wring  it  and  lay  it  by  in  its  wet  state  for  fur- 
ther use.  This  being  done,  dye  it  in  a keepj 
8* 


(dye  tub)  light  or  dark,  as  your  taste  may  suit, 
or  according  to  the  pattern  which  is  laid  before 
you.  If  you  do  not  wish  to  make  use  of  the 
keep,  or,  as  is  often  the  case  in  small  establish- 
ments, should  you  not  possess  one,  you  may 
apply  the  indigo  colouring.  You  may  likewise 
colour  it  in  the  liquor  of  logwood,  which  will 
render  it  equally  handsome,  but  not  of  so  last- 
ing a colour. 

A REAL  CRIMSON  IN  ANOTHER  WAY. 

Take  two  pounds  and  a half  of  Roman  alum, 
two  pounds  of  fine  galls,  one  pound  and  four 
ounces  of  cochineal,  one  fourth  of  a pound  of 
argol,  and  eight  ounces  of  spirits  of  ammonia. 
Take  a kettle  with  eight  buckets  of  water,  put 
into  it  two  pounds  of  fine  galls,  and  let  it  boil 
for  a quarter  of  an  hour;  run  the  liquor 
through  a fine  sieve  into  a pail,  steep  the  silk 
in  the  liquor,  and  work  it  well  therein,  for  the 
space  of  four  hours  ; then  take  ikout,  rinse  it, 
wring  it,  and  dry  it.  After  this  take  a kettle 
with  eight  buckets  of  water,  and  dissolve  in  it 
two  pounds  of  Roman  alum  ; pour  it  into  a 
vat,  steep  the  silk  in  the  solution  of  alum,  and 
work  it  well  for  the  space  of  four  hours,  in  the 
same ; then  take  it  out,  wring  it  and  lay  it  by 
in  a wet  state  for  further  use.  After  this,  to 
complete  the  colour,  take  six  buckets  of  water, 
pour  it  into  a kettle  ; add  one  pound  and  four 
ounces  of  fine  cochineal,  a quarter  of  a pound 
of  argol,  and  eight  ounces  of  spirits  of  ammo- 


ilia  ; let  all  boil  well  together  for  about  teif 
iniiuites,  then  cool  the  liquor  with  two  buckets 
of  water;  work  the  silk  in  it  for  about  two 
^ hours,  during  which  time  it  must  be  kept  boil- 
ing continually  ; then  take  it  out,  suspend  it 
on  the  rods,  over  a vat,  pour  the  liquor  from 
the  kettle  into  it,  and  continue  to  work  the 
silk  in  the  liquor,  until  it  has  become  cool  : 
then  take  it  out,  rinse  it,  and  dry  it  in  the 
shade.  By  following  the  above  directions  you 
will  obtain  a very  handsome  crimson. 

To  turn  this  expensive  cochineal  liquor  to 
all  possible  advantage,  (for  it  will  still  have 
retained  some  good  colouring  matter,)  pour 
the  above  used  alum  liquor  into  it,  and  heat  it 
again  ; which  will  enable  you  to  colour  many 
lighter  shades,  from  the  rich  peach  blossom, 
down  to  the  lightest  lilac  colour.  Having  used 
it  for  this  purpose,  you  may  take  more  or  less 
of  silk  of  a yellow  ground  and  colour  it  in  ity 
which  will  receive  a reddish  yellow  from  it. 

A HANDSOME  RED. 

Take  eight  ounces  of  annotto,  one  pound 
and  a half  of  potash,  two  pounds  and  a half  of 
alum,  six  pounds  of  Brazil  wood,  five  buckets 
of  sharp  vinegar,  and  six  ounces  of  composi- 
tion. Take  for  this  purpose,  a kettle  with 
eight  buckets  of  water,  and  let  it  boil.  While 
this  is  doing,  powder  eight  ounces  of  annotto 
as  fine  as  possible  ; then  put  it,  together  with 
one  pound  and  a half  of  potash,  into  the  above 


heated  water,  let  the  whole  hoi!  well  for  a 
quarter  of  an  hour,  and  pour  the  liquor  through 
a sieve  into  a pail.  Steep  the  silk  in  this  pot- 
ash and  annot.to  liquor,  and  work  it  well,  for 
two  hours  in  the  same;  after  which,  take  it 
out,  rinse  it,  Avring  and  dry  it.  Then  dissolve 
one  pound  and  a half  of  alum  in  a kettle  Avith 
eight  buckets  of  water  ; pour  this  solution  into 
a pail,  fix  your  silk  upon  rods,  and  Avork  well 
therein  for  two  hours,  then  take  it  out,  Avring 
and  dry  it.  When  the  silk  is  completely  dry, 
steep  it  in  Avarm  water,  until  it  has  become 
properly  soaked.  Then  take  it  out,  wring  it, 
and  lay  it  by  in  its  Avet  state  for  further  use. — 
This  being  done,  pour  into  a vat  five  buckets 
of  sharp  vinegar,  anfl  six  pounds  of  Brazil 
wood,  and  let  it  stand  for  the  space  of  forty 
eight  hours : then  take  the  liquor  out  of  the 
vat,  and  pour  it  into  a kettle  ; let  it  boil  for  the 
space  of  ten  minutes  ; then  take  it  out,  pour  it 
through  a sieve  into  a vat,  and  throw  the  parts 
remaining  in  the  sieve  into  the  kettle  again  ; 
pour  three  buckets  of  water  upon  it,  let  it  boi,l 
Avell  for  a quarter  of  an  hour,  and  pour  the 
liquor  thereof  to  the  other  Brazil  Avood  liquor 
in  the  vat.  This  being  done,  pour  six  ounces 
of  the  composition  into  this  liquor  of  Brazil 
wood,  and  stir  it  well;  steep  the  silk  previously 
soaked  in  warm  Avater,  in  the  liquor,  and  Avork 
it  Avell  for  the  space  of  two  hours.  Examine, 
at  the  expiration  of  this  time,  Avhether  the  li- 
quor still  contains  any  colouring  matter  : if  so, 
take  it  out,  pour  it  into  the  kettle  again,  Avork 


93 


the  silk  another  time  therein,  during  which,  it 
must  be  kept  moderately  warm  ; then  take  it 
out,  rinse  it  in  running  water,  wring  it  and 
hang  it  up  to  dry.  By  using  eight  buckets  of 
vinegar  instead  of  five,  the  color  will  be  con- 
siderably improved,  and  by  dispensing  with 
the  composition  altogether,  the  color  will  be- 
come darker.  Lastly,  if  you  desire  to  have 
this  color  of  a darker  and  fiery  hue,  add  two 
pounds  of  Brazil  wood,  and  one  pound  of  com- 
position, to  the  above  quantity,  and  proceed 
in  the  same  way  as  above  directed. 

TO  COLOUR  SILK  WITH  QUERCITRON,  IN  ANO- 
THER WAY. A CITRON  YELLOW. 

Take  two  pounds  and  a half  of  alum,  one 
fourth  of  a pound  of  sugar  of  lead,*  two 
ounces  of  chalk,  and  three  pounds  of  quercit- 
ron. Take  a kettle  with  eight  buckets  of  wa- 
ter, put  into  it  two  and  a half  pounds  of  alum, 
and  dissolve  it  therein  ; then  take  out  the  alum 
liquor,  and  pour  it  into  a pail,  and  let  it  be- 
come cold  ; add  to  it  a quarter  of  a pound  of 
sugar  of  lead,  and  stir  it  well  until  united  with 
the  solution  of  alum;  then  put  into  it  two 
ounces  of  chalk,  stir  it  well,  and  continue  the 
stirring  at  proper  intervals,  for  the  space  of 
twelve  hours,  and  set  it  by  to  settle.  Pour  off 
the  liquor  into  a pail,  but  be  careful  not  to  dis- 
turb the  sediment  at  the  bottom  ; steep  the 

^Acetate  of  lead. 


91 


silk  in  tbe  liquor  and  work  it  well  therein,  fcn^ 
the  space  of  six  hours  ; then  take  it  out,  wring 
and  lay  it  by  wet,  for  further  use.  After  this, 
take  a kettle  with  eight  buckets  of  water,  put 
into  it  three  pounds  of  quercitron  bark,  and 
let  it  boil  for  the  space  of  three  quarters  of  an 
hour  ; pour  it  through  a sieve  into  a vat,  steep 
the  silk  which  has  been  saturated  in  the  fore- 
going liquor,  composed  of  alum,  sugar  of  lead, 
and  chalk,  in  the  quercitron  liquor,  and  work 
it  well  for  the  space  of  an  hour  ; then  take  it 
out,  rinse  it,  wring  and  dry  it. 

If  you  desire  a higher  coloured  citron  yel- 
low than  the  above,  add  another  pound  of 
quercitron,  to  the  above  quantity,  and  proceed 
in  the  following  manner.  Saturate  the  silk, 
as  above  directed  in  a liquor  of  alum,  sugar  of 
lead,  and  chalk  ; then  take  a kettle  with  eight 
buckets  of  water,  boil  two  pounds  of  quercit- 
ron therein,  three  quarters  of  an  hour,  and 
pour  the  liquor,  through  a sieve  into  a vat; 
steep  the  silk,  and  work  it  well  therein,  for 
the  space  of  two  hours  ; after  which,  take  it 
out,  wring  and  dry  it.  This  will  have  given 
the  silk  the  best  of  grounds  for  a good  yellow 
colour.  After  this,  take  another  kettle  with 
eight  buckets  of  water,  put  into  it  two  pounds 
more  of  quercitron  bark,  and  boil  it  for  the 
space  of  three  quarters  of  an  hour  ; then  pour 
it  through  a sieve  into  a vat,  and  work  the 
previously  coloured  and  dried  silk  in  the  same, 
for  the  space  of  two  hours  ; then  take  it,  rinse 
and  dry  it. 


95 


COT.OUPwS  WHICH  ARE  USED  EITHER  IN  WATER 

OR  OIL,  FOR  DRAWING  OR  PAINTING. RED 

LAKES. 

This  terra  is  used  to  denote  a sjiecies  of 
colours  formed  bj  the  combination  of  alumnia, 
or  the  oxide  of  tin,  with  the  colouring  mat- 
ters of  vegetables.  The  lakes  chiefly  used 
are  red  colours  ; and  these  are  of  different 
qualities,  according  to  the  basis  and  colouring 
matter  employed,  such  as  carmine,  Florence 
lake,  and  madder  lake,  &c. 

CARMINE 

Is  a very  rich,  bright  crimson  colour,  and 
stands  well  in  water.  For  the  preparation  of 
carmine,  four  ounces  of  finely  pulverized 
cochineal  are  to  be  poured  into  four,  or  six 
quarts  of  rain,  or  distilled  water,  that  has  been 
previously  boiled  in  a pewter  kettle,  and  boil- 
ed with  it  for  the  space  of  six  minutes  longer. 
Eight  scruples  of  Roman  alum,  in  powder, 
are  to  be  then  added,  and  the  whole  kept  upon 
the  fire  one  minute  longer.  As  soon  as  the 
gross  powder  has  subsided,  and  the  decoction 
has  become  clear,  it  is  to  be  carefully  decant- 
ed into  large  cylindrical  glasses,  covered  over 
and  kept  undisturbed  till  a fine  powder  is  ob- 
served to  have  settled  at  the  bottom.  The  li- 
quor is  then  to  be  poured  off  from  this  pow- 
der, which  is  to  be  gradually  dried.  From  the 
liquor,  which  is  still  much  coloured,  tlie  rest 


of  tlic  colouring  matter  may  be  separated,  by 
means  of  the  solution  of  tin,  when  it  yields  a 
carmine  little  inferior  to  the  former. 

FLORENTINE  LAKE 

Is  the  kind  in  general  use,  known  by  the 
name  of  lake.  It  is  used  in  water,  and  also  in 
oil,  but  does  not  stand,  which  is  much  to  be 
lamented,  as  it  is  a very  beautiful  colour,  and 
there  is  no  substitute  that  will  completely  an- 
swer all  the  purposes  of  lake.  The  best  sort 
may  be  prepared  from  the  sediment  of  cochi- 
neal that  remains  in  the  kettle,  after  making 
carmine,  adding  to  it  a small  quantity  of 
cochineal,  or  Brazil  wood,  and  precipitating 
the  colouring  matter  with  a solution  of  tin. 

MADDER  LAKE 

Is  very  little  known  as  a colour.  It  is  not 
so  bright  and  rich  a colour  as  the  last  men- 
tioned lake,  but  has  this  valuable  advantage, 
that  it  stands  much  better,  and  may  answer 
many  of  the  purposes  of  Florence  lake.  It  is 
])repared  nearly  in  the  same  manner  as  the 
foregoing. 


ROSE  LAKE. 

This  is  generally  called  rose  pink.  It  is  a 
lake,  made  by  a basis  of  clialk,  coloured  by 
Brazil,  or  Campeachy  wood.  It  does  not 


97 


stand,  and  is  only  used  for  iionse-painting  and 
paper  hanging. 

VERMILION 

Is  a bright  scarlet  pigment,  formed  from 
sulphur  and  quicksilver;  when  of  a coarse 
kind,  it  is  called  cinnabar.  Its  goodness  is 
known  by  its  brightness,  audits  inclining  to  a 
crimson  hue.  It  is  a very  useful  colour  in  oil 
where  it  stands  very  well ; but  in  water,  it  is 
apt  to  turn  black. 

RED  LEAD, 

Or  minium,  is  lead  calcined  till  it  acquires 
a red  colour  by  exposing  it  with  a large  sur- 
face to  the  fire.  It  is  also  made  from  litharge, 
which  is  a calx,  or  oxide  of  lead ; but  is  not 
so  good  as  when  made  directly  from  metalic 
lead.  This  colour  is  very  apt  to  turn  black, 
both  in  water  and  oil,  and  is  therefore  seldom 
used,  but  for  very  coarse  purposes. 

INDIA  RED 

Is  a very  useful  colour,  answering  some  of 
the  purposes  of  lake  : it  stands  well,  both  in 
water  and  oil.  It  is  difficult  to  procure  the 
genuine  kind,  whicb^comes  from  the  East  In- 
dies. What  is  sold  for  Indian  red,  is  said  to 
be  chiefly  made  in  England. 


98 


VENETIAN  REP 

Is  a native  red  ochre,  rather  inclining  to  the 
scarlet,  than  the  crimson  hue  ; it  is  not  far  dif- 
ferent from  the  common  Indian  red,  but  foul- 
er, and  is  chiefly  used  by  house-painters. 

* SPANISH  BROWN 

Is  also  an  earthly  substance,  found  in  the 
same  state  in  which  it  is  used  ; it  is  nearly  of 
the  same  colour  as  Venetian  red,  but  coarser. 
It  is  used  only  for  the  commonest  purposes. — ^ 
It  does  not  change. 

LIGHT  RED,  OR  BURNT  OCHRE. 

This  is  common  yellow  ochre,  heated  red- 
hot  in  the  fire,  till  the  colour  changes  from 
yellow  to  a red.  It  is  a very  excellent  colour, 
both  in  water  and  oil;  having  the  quality,  in 
common  with  all  the  ochres,  of  standing  per- 
fectly well. 

RED  CHALK. 

This  is  the  same  substance  as  is  used  for 
drawing  on  paper,  in  the  manner  of  a crayon. 
It  is  very  much  like  light  red,  and  is  used  in- 
stead of  it  for  some  purposes.  It  stands  per- 
fectly well,  and  may  be  used  both  in  water 
and  oil. 


BURNT  TERRA  DI  SIENNA. 


This  colour  is  made  by  calcining*  raw  terra 
di  Sienna  till  it  acquires  a red  colour.  It  is  of 
a very  rich  tint,  and  is  much  used  both  in  wa- 
ter and  oil.  It  stands  well  in  both. 


BLUE. 

Ultramarine  is  prepared  from  lapis  lazuli ; 
by  calcining  and  washing  it  very  clean.  When 
genuine,  it  is  an  extremely  bright  blue  colour, 
somewhat  transparent,  both  in  oil  and  water, 
and  stands  perfectly  well.  On  these  accounts 
it  is  of  the  utmost  value,  being  excellent  in 
every  kind  of  painting,  even  in  enamel:  but 
its  great  price  prevents  the  general  use  of  it, 

ULTRAMARINE  ASHES. 

This  is  the  residuum,  after  washing  the  lapis 
lazuli,  in  which  a portion  of  the  ultramarine 
still  remains.  It  is  very  subject  to  be  adulter- 
ated. It  is  not  so  bright  as  ultramarine  ; be- 
ing, like  that  colour,  with  a tint  of  red  and 
white  in  it.  When  genuine  it  stands  well. 

PRUSSIAN  BLUE, 

This  colour  is  iron  combined  with  a peculiar 
acid,  called  the  Prussic  acid.  It  is  made  in 
the  following  manner.  Two  parts  of  purified 
potass  are  most  intimately  blended  with  three 


100 


parts  of  dried  and  finely  pulverized  bullock’s 
blood.  The  mass  is  first  calcined  in  a covered 
crucible  and  on  a moderate  fire,  until  no  more 
smoke  or  fiame  appears  ; and  it  is  after  this, 
brought  to  a complete  yet  moderate  ignition  ; 
or  equal  parts  bf  potass  and  finely  powdered 
coals  from  bones,  horns,  claws,  &:.c.  are  min- 
gled, and  heated  in  a covered  crucible  to  a 
moderate  redness.  This  done,  either  of  these 
two  calcined  masses  is,  after  cooling,  lixivated 
with  boiling  water,  and  the  lixivium  filtered. 
Nothing  remains  now  but  to  make  a solution 
of  one  part  of  green  vitrol  and  t-^vo  parts  of  al- 
um ; and  to  add  to  it,  while  yet  hot,  the  above 
lixivium,  little  by  little  however,  and  to  separ- 
ate the  greenish  blue  precipitate,  which  there 
forms,  by  means  of  a filter.  If  afterward,  a 
slight  quantity  of  diluted  muriatic  acid  is  af- 
fused  upon  this  precipitate,  it  assumes  a beau- 
tiful dark  blue  colour."  The  operation  is  ter- 
minated by  edulcorating  and  drying  pigment 
thus  prepared.  Prussian-blue  is  an  extremely 
beautiful  colour,  when  properly  prepared, 
and  stands  well.  Common  Prussian  blue  is 
apt  to  contain  some  iron,  which  causes  it  to 
turn  greenish  or  olive. 

VERDITER 

Is  a blue  pigment  obtained  by  adding  chalk 
or  whitening  to  the  solution  of  copper  in  aqua- 
fortis. The  best  sort  is  prepared  by  refiners ; 
who  employ  for  this  purpose  the  solution  of 


ioi 

copper,  which  they  obtain  in  the  process  of 
parting,  by  precipitating  silver,  from  aquafor- 
tis by  plates  of  copper.  Common  verditer  is 
made  ft'om  the  sulphate  of  copper,  or  blue,  by 
the  manufacturers  in  Sheffield  and  Birraing- 
ham.  Verditer  is  only  used  for  coarse  pur- 
poses chiefly  by  the  paper  stainers.  It  has 
been  sometimes  called  sanders-blue,  from  ig- 
norance of  the  meaning  of  the  term  cindres 
blues,  or  blue  ashes,  which  the  French  call  it. 

INDIGO. 

This  colour  is  extracted  from  a plant  that 
grows  in  the  East  and  West  Indies.  It  is  not 
so  bright  as  Prussian  blue,  but  it  is  cooler,  and 
has  the  advantage  of  being  very  durable.  It 
cannot  be  dissolved  by  water,  but  may,  by  the 
sulphuric  acid,  and  it  then  forms  Scott’s  liquid 
blue,  so  much  used  for  colouring  silk  stock- 
ings, &c. 


SMALT. 

This  is  glass,  coloured  with  cobalt,  and 
ground  to  a fine  powder.  Its  coarseness  pre- 
vents its  being  used  much  for  painting  in  oil  or 
water.  It  is  employed  sometimes  by  strewing 
it  upon  a ground  of  oil  paint.  It  is  also  used 
in  enamel  painting.  It  stands  well. 

Bice  is  only  smalt  more  finely  levigated, 
y* 


10^ 

YELLOVyS INDIAN  YELLOW. 

This  is  the  brightest  of  all  yellow  for  water, 
colours,  and  is  perfectly  durable.  It  is  said  to 
be  procured  from  the  urine  of  the  buffalo.  In 
the  East  Indies  it  is  a very  common  and  cheap 
colour  : the  natives  there  use  it  commonly  for 
colouring  their  calicoes,  which  they  do  with- 
out mordants  : so  that  the  colour  is  washed 
out  again  when  the  cloth  is  dirty. 

king’s  yellow. 

This  colour  is  orpiment  refined  ; which  is 
a substance  dug  out  of  the  earth,  and  consists 
of  sulphur  joined  to  arsenic;  or  it  maybe  pre- 
pared by  subliming  sulphur  with  arsenic.  It 
is  of  a' very  bright  yellow,  but  does  not  stand, 
and  great  caution  should  be  used  in  employing 
it,  as  it  is  a strong  poison. 

NAPLES  yellow. 

This  is  a very  durable  and  bright  yellow  ; it 
comes  from  Naples,  and  is  supposed  to  be 
prepared  from  lead  and  antimony. 

YELLOW  OCHRE. 

This  is  an  earth  coloured  by  oxide  of  iron, 
it  is  a cheap  colour,  and  not  very  bright,  but 
is  valuable  on  account  of  its  standing  well. — 
Roman  ochre  is  a superior  kind  of  yellow 
ochre. 


103 


- DUTCH  PINK. 

This  pi^ment-is  formed  of  chalk,  coloured 
with  the  juice  of  French  berries,  pp  vegetables 
aftbrding  a yellow  colour.  It  does  riot  stand 
and  is  chiefly  used  for  coarse  purposes. 

GAMBOGE 

Is  a gum  brought  from  the  East  Indies.  It 
readily  dissolves  In  water,  and.  is'a.fine  bright 
yellow.  It  is  used  only  in  water,  and  is  very 
serviceable. 

MASSICOT 

Is  an  oxide  of  lead,  prepared  by  calcining 
white  lead.  It  is  very  little  used,  the  colour 
not  being  very  bright. 

gallstones. 

This  is  a concretion,  or  hard  substance, 
formed  in  the  gall-bladders  of  beasts  ; or  it 
may  be  obtained  from  the  gall  of  animals.  It 
is  a very  rich  colour,  but  does  not  stand. 

PvAW  terra  DI  sienna 

Is  a native  ocherous  earth,  brought  from 
Italy.  It  is  a fine  warm  colour,  and  stands 
well. 


104 


ORANGE  LAKE 

Is  the  tinging  part  of  annatto,  precipitated 
together  with  the  earth  of  alum.  It  does  not 
stand. 

BROWN  PINK 

Is  the  tinging  part  of  some  vegetable  sub- 
stance, precipitated  upon  the  earth  of  alum. 
It  is  of  a fine  rich  greenish  yellow,  but  does 
not  stand. 

GREEN. 

There  are  few  colours  that  are  so  useful  as 
greens  ; accordingly,  it  is  the  practice  with 
artists  to  form  their  greens  by  the  mixture  of 
blue  and  yellow  colours.  By  varying  these, 
a vast  variety  of  green  tints  may  be  obtained. 

SAP  GREEN 

Is  the  concreted  juice  of  the  buckthorn  ber- 
ries. It  is  never  used  in  oil.  It  is  employed 
chiefly  in  flower  painting,  colouring  prints, 
&c. 

VERDIGRIS. 

If  plates  of  copper,  moistened  from  time  to 
time  with  vinegar,  are  left  exposed  to  the  air, 
they  will  be  converted  into  green  oxide,  called 
verdigris  ; this  is  an  imperfect  oxide  of  copper, 


105 


conibined  with  a small  portion  of  acetic  acid, 
carbonic  acid,  and  water.  It  is  prepared  in 
large  quantities,  chiefly  in  France,  near  Mont- 
pelier, by  stratifying  copper  plates  with  the 
husks  of  grapes  yet  under  vinous  fermenta- 
tion, which  soon  grow" acid  and  corrode  the 
copper.  After  the  plates  have  stood  in  this 
situation  for  a suflicient  time,  they  are  moist- 
ened with  water,  and  exposed  in  heaps  to  the 
air.  The  verdigris  is  scraped  oif  from  their 
surfaces  as  it  forms. 

Verdigris  is  of  a blueish  green  colour,  but 
has  no  body,  and  does  not  stand.  It  is  only 
used  for  coarse  purposes.  It  answers  best 
when  used  in  varnishes.  Distilled  verdigris, 
sometimes  called  crystals  of  verdigris  is  pre- 
pared from  common  verdigris,  by  dissolving 
it  ill  vinegar.  It  is  of  a very  bright  green  ; 
and  is  used  chiefly  for  varnishes,  and  in  col- 
ouring maps,  <fee. 

BROWN  COLOURS. 

Bistre  is  the  finer  parts,  extracted  from  the 
soot  of  burnt  wood.  It  is  much  used  alone  for 
sketches  in  water  colours,  being  a transpa- 
rent, warm  colour-.  There  is  an  excellent  sort 
prepared  in  Ireland. 

COLONGE  EARTH 

Is  a mineral  substance  of  a blackish  brown 
colour.  It  is  a very  useful  colour;  though 


106 


ivliat  is  generally  sold  in  the  shops  for  Colonge 
earth,  is  an  artificial  mixture  of  several  co- 
lours. 


RAW  UMBRE 

Is  a native  ocherous  earth,  of  a light  brown 
It  stands  well. 

BURNT  UMBRE 

Is  only  the  last  mentioned  colour,  calcined 
in  the  fire.  It  then  acquires  a rich  deep 
brown,  and  is  of  great  use,  being  a fine  co- 
lour, and  standing  perfectly  well. 

ASPHALTUM 

Is  used  in  oil,  and  is  a very  rich  deep  brown. 
It  is  a transparent  or  glaring  colour.  It  will 
not  work  in  water  ; but  when  dissolved  in  tur- 
pentine, it  becomes  a useful  substance  for  giv- 
ing deep  and  spirited  touches  to  drawings. 

WHITE. 

Flake  white  is  an  oxide  of  lead,  formed  by 
corroding  lead  with  vegetables,  acids  or  vine- 
gar. 

W’HITE  LEAD 

Is  the  same  colour  as  flake  white,  only  of 
an  inferior  quality.  It  is  the  only  white  used 
in  oil  painting,  and  is  a very  useful  colour  ; 


I 

107 

I but  ill  water  it  always  turns  black,  and  should, 
never  be  used. 

PURE  CARBONATE  OF  LIME 

Is  very  useful  as  a white  in  water  colours, 
as  it  stands  perfectly  well.  Egg  shell  white, 
and  oyster  shell  white,  are  only  egg  shells  or 
oyster  shells  calcined,  by  which  the  animal 
g-lutenis  destroyed,  leaving  the  lime  behind, 
which  soon  attracts  the  carbonic  acid  again 
from  the  atmosphere.  Well  washed  Spanish 
white,  or  common  whitening,  answers  the 
same  purpose. 

BLACK. 

Lamp  black  is  the  soot  of  oil,  collected  after 
it  is  formed  by  burning.  It  is  very  generally 
used,  both  in  oil  and  water,  and  stands  per- 
fectly well. 


IVORY  BLACK 

Is  the  coal  of  ivory  or  bone,  formed  by  giv- 
ing them  a great  heat,  while  they  are  deprived 
of  all  access  of  air.  It  is  of  more  intense  black, 
than  lamp-black.  Blue  black  is  the  coal  from 
burning  vine  stalks  in  a close  vessel.  It  is 
like  ivory  black,  with  a tint  of  blue. 


108  * 


TO  MAKE  COPAL  VARNISH. 

Take  three  pounds  of  the  best  West  India 
copal ; scrape  it  as  clear  from  dust,  and  other 
impurities  as  possible,  then  pound  it  in  a clean 
iron  mortar,  till  it  is  as  fine  as  Indian  corn  ; 
then  take  half  a pound  of  flint  glass,  as  coarse- 
ly pulverized,  add  the  coarsest  to  the  gum,  and 
the  fine  may  be  thrown  aside.  Put  these  into 
a copper  kettle  with  a narrow  top,  place  the 
kettle  over  a charcoal  fire  in  a patent  furnace  ; 
continue  the  heat  without  intermission  till  the 
gum  is  dissolved  ; keep  the  kettle  on  constant- 
ly in  motion«during  the  operation  of  dissolv- 
ing, which  you  will  perceive  by  the  ebullition 
subsiding,  and  the  whole  has  settled  down  to 
a liquid  (the  ebullition  will  continue  till  the 
last  particle  of  gum  is  dissolved;)  previous  to 
the  above  operation  you  will  have  one  pint  of 
bleached  oil  made  warm,  or  a little  more  than 
blood  warm,  and  the  gum  being  taken  from  the 
fire,  the  warm  oil  must  be  added  with  a small 
stream,  with  constant  stirring  with  a clean 
iron  rod  made  warm  before  it  is  put  into  the 
composition.  When  the  oil  is  thoroughly  in- 
corporated with  the  gum,  it  must  stand  a few 
minutes  to  cool ; when  it  begins  to  stifien  you 
must  add  gradually  two  quarts  of  spirits  of  tur- 
pentine made  warm,  with  constant  stirring, 
then  strain  the  whole  through  a flannel  whilst 
■warm,  and  bottle  it  tight  for  use.  After  stand- 
ing a few  days  to  settle,  it  is  fit  for  use ; if  too 
thick  for  spreading,  reduce  it  with  spirits  of 


109 


♦ 

iirpeiitine  as  you  make  use  of  it.  The  above 
vaniish  may  ba  made  uso  offer  all  common 
workj  where  it  is  wanted  to  dry  quick,  and  is 
not  exposed  to  the  weather  : but  such  as  is 
exposed  to  the  weather,  when  there  is  danger 
of  cracking,  add  one  quart  of  the  bleached  oil 
instead  of  a pint,  and  spirits  the  same  quantity 
as  above  mentioned.  If  a colorless  varnish  is 
wanted  to  varnish  over  white,  bronzed,  or  sil- 
vered work,  you  may  use  the  best  kind  of 
South  American  gum,  instead  of  West  India 
gum;  and  proceed  in  the  same  mannqji'  as 
above  directed.  The  white  varnish  made  f'rom 
the  American  giipi,  cannot  be  applied  to  the 
preparation  of  paints,  but  ought  to  be  used 
only  where  varnish  alone  is  required;  it  may 
be  used  to  varnish  maps,  charts,  &lc.  Varnish 
made  from  India  gum,  though  of  an  amber 
colour,  may  be  used  in  all  colours,  and  will 
run  free  under  the  coarse  brush,  or  the  fine 
pencil. 

TO  MARE  CHINESE  VARNISH. 

Take  of  amber  coarsely  pulverized,  one 
pound,  and  melt  it  in  a clean  iron  pot,  with  a 
cover  closely  fitted  to  -the  top,  with  a small 
hole  in  the  centre  with  a clean  iron  rod  one 
end  bent  in  the  form  of  a curve,  for  the  use  of 
stirring  the  composition  ; then  add  two  ounces 
of  melted  shellac,  previously  melted  in  a sep- 
arate vessel,  and  ten  ounces  of  drying  oil, 
boiling  hot.  Incorporate  th^whole  accurately, 
10  ‘ 


110 


by  stirring;  then  remove  it  from  the  fire,  and 
let  it  cool  till  out  of  danger  of  taking  fire  by 
the  addition  of  spirits  of  turpentine  ; then  add 
a pint  of  spirits  turpentine  made  warm.  This 
varnish  is  made  use  of  on  furniture  of  all 
kinds,  where  brilliancy  and  durability  are  re- 
quired. It  is  capable  of  receiving  a high  pol- 
ish. 

TO  CRYSTALIZE  TIN. 

Cleanse  the  tin  by  washing  it  with  warm 
water,  tinctured  with  pearl  ashes  or  common 
soap  ; then  heat  the  tin  •to  the  temperature  of 
bare  sufferance  to  the  hand,  and  pour  on  it  or 
apply  with  a brush  or  sponge  a mixture  of  one 
ounce  of  muriatic  acid,  with  one  fourth  of  an 
ounce  of  sulphuric  acid,  and  two  ounces  of 
water,  then  immediately  wash  the  tin  in  clear 
water.  Another  method  is,  to  apply  in  the 
same  manner,  a solution  of  two  ounces  of  mu- 
riate of  soda,  in  four  ounces  of  water,  with 
one  ounce  of  nitric  acid.  In  either  case,  if 
the  crystaline  figures  are  not  bold  enough,  the 
operation  may  be  repeated  ; if  a very  small 
figure  is  required,  the  tin  may  be  heated  near- 
ly to  flowing  and  plunged  into  cold  water, 
slightly  acidulated  with  nitric  acid,  muriatic 
acid.  If  a little  solder  is  drawn  over  the  tin 
with  a hot  soldering  iron  in  such  a manner  as 
to  form  a cross  or  circle,  and  the  opposite  of 
the  tin  be  afterwards  crystalized,  it  will  have  a 
beautiful  effect.  ,*Crystalized  tin  ought  not  to 


ill 


[ 

be  worked  into  such  vessels  as  are  required  to 
[ be  water  tight ; the  effect  that  the  acids  pro- 
i duce  on  the  tin,  prevents  in  some  degree,  the 
solder  from  running  free  and  adhering  to  the 
tin  ; for  that  reason,  crjstalized  tin  is  more 
commonly  manufactured  into  such  articles 
where  water  tightness  is  not  essential.  The 
tin  being  ready  for  jappanning,  we  will  pro- 
ceed to  that  business. 

TO  JAPPAN  CRYSTALIZED  TIN. 

If  a transparent  yellow  is  required,  make 
use  of  one  ounce  of  pulverized  turmeric,  and 
half  a drachm  of  the  best  dragon’s  blood;  infuse 
them  at  a moderate  temperature,  for  a week 
or  more,  in  a pint  of  rectified  alcohol ; separ- 
ate the  yellow  tincture  thus  obtained  by  strain- 
ing through  a piece  of  clean  linen,  and  add  to 
the  clean  liquor,  three  ounces  of  good  gum 
shellac.  Let  the  materials  digest  together  for 
several  days,  in  a bottle  with  frequent  shaking  ; 
the  bottle  must  be  kept  warm  during  the  op- 
eration ; when  dissolved,  strain  off  the  clear 
part,  which  is  the  lacquer.  This  lacquer  or 
varnish  must  be  put  on  warm,  and  with  a soft 
brush  one  or  two  coats,  according  to  fancy. — 
The  lacquer  will  very  soon  dry,  and  ought  to 
be  secured  with  one  or  two  coats  of  copal  var- 
nish, (silver  leaf  thus  treated,  will  have  the 
appearance  of  gold,)  and  dry  it  in  the  shade  ; 
then  let  the  ornaments  be  drawn,  and  when 
dry,  give  the  work  one  or  two  coats  of  copaj 


varnish,  made  from  India  gum.  If  a green 
varnish  is  wanted,  take  crystals  of  verdigris 
and  grind  with  copal  varnish,  diluted  with 
spirits  of  turpentine,  on  a marble  paint  stone  : 
that  it  may  flow  freely  over  the  tin,  lay  on  two 
or  three  coats  and  dry  it  in  the  sun  ; ornament 
and  varnish  with  clear  copal  varnish  and  dry 
again,  as  before.  We  will  now  proceed  to 
that  kind  pf  jappanning,  that  requires  baRing. 
The  tin,  that  is  intended  for  jappanning,  must 
be  entirely  free  from  resin,  that  is  melted  on 
by  means  of  soldering,  therefore,  sweet  oil  is 
commonly  used  instead  of  resin.  First,  lay 
one  coat  of  varnish,  of  the  fpliowing  : to  one 
gallon  of  linseed  oil,  add  half  a pound  of  li- 
tharge, and  one  pound  red  lead  ; put  all  these 
together,  in  a five  pail  iron  kettle,  over  a char- 
coal fire  ; give  it  a steady  and  strong  heat,  for 
three  hours,  then  add  gradually,  piece  by 
‘piece,  half  a pound  of  gum  shellac,  and  half  a 
pound  of  asphaltura  ; keep  stirring  during  the 
operation,  with  an  iron  rod,  drop  in  occasion- 
ally, sugar  of  lead  ; when  the  , varnish  swells 
and  is  in  danger  of  boiling  over,  when  the  last 
mentioned  gum  is  dissolved,  it  may  be  taken 
from  the  fire,  and  must  stand  until  cold  enough 
to  add  spirits  of  turpentine,  which  may  take 
two  or  three  gallons  ; and  when  this  is  firmly 
set,  lay  on  a second  coat,  and  when  dry,  it  is 
ready  for  baking.  If  a shaded  ground  is  \vant- 
ed,  strike  on  very  thinly,  lampblack,  tempered 
with  boiled  linseed  oil,  and  spirits  turpentine, 
and  when  dry,  give  two  coats  of  varnish  of  the 


113 


last  above  mentioned,  and  when  dry  it  is  ready 
for  baking.  If  a tortoise  sliell  is  required, 
take  of  good  linseed  oil,  one  gallon,  and  of 
umber  half  a pound  ; boil  them  together,  in  a 
clean  iron  kettle,  till  the  oil  becomes  very 
brown  and  thick  ; strain  it  through  a coarse 
eloth,  and  set  it  again  to  boil,  in  which  state, 
it  must  be  continued  till  it  acquires  a pithy  con- 
sistence, diluted  with  spirits  turpentine.  Hav- 
ing thus  prepared  the  varnish,  clear  well  the 
tin  that  is  to  be  jappanned,  and  then  lay  ver- 
milion, tempered  and  prepared  with  drying 
oil  and  spirits  of  turpentine,  very  thinly  on  the 
places,  intended  to  imitate  the  more  transpa- 
rent parts  of  the  tortoise  shell  ; when  suffi- 
ciently baked,  it  changes  to  a beautiful  dark 
brown,  and  shows  at  the  same  time,  the  lively 
shadows  of  the  under  ground.  I will  now  give 
a description  of  the  oven,  and  afterwards,  the 
manner  of  baking.  The  form  of  the  oven  is 
as  follows.  It  may  be  built  of  brick,  about 
seven  or  eight  feet  square  on  the  inside,  and 
the  height  about  the  same  ; the  under  floor 
may  be  laid  with  brick  or  flat  stones  ; tbe  top, 
Ji^upper  floor,  may  be  laid  with  flat  stones, 
■supported  by  iron  bars,  laid  across  from  one 
side  of  the  wall  to  the  other,  and  all  the  open 
spaces  made  perfectly  tight  with  lime  mortar, 
and  over  the  top  of  this  floor,  must  be  a roof  to 
shed  off  the  rain  ; at  one  end,  a door  must  be 
made,  large  enough  for  a person  to  enter. — ^ 

This  door  may  be  made  of  plank,  and  lined 
with  sheet  iron,  on  the  inside;  at  one  end,  a 
10* 


ii4 


Small  hole  must  be  made,  about  twelve  inches 
square,  and  be  made  in  the  same  end,  the  door 
is  made  in  ; and  a good  and  lengthy  stove 
must  be  placed  in  this  oven,  and  the  door  of 
the  stove  be  placed,  so  as  to  match  with  this 
square  hole,  that  the  wood  may  be  thrown  into 
the  stove,  from  the  outside  of  the  oven,  as  the 
heat  will  be  too  great  for  any  person  to  enter 
the  inside,  when  once  heated.  The  pipe  of  the 
stove,  must  be  turned  out  at  the  opposite  side 
from  the  door,  by  means  of  an  elbow,  that  the 
heat  may  be  more  even  in  the  oven.  The  in- 
side of  this  oven  must  be  strung  with  wires  in 
such  a position,  as  to  form  shelves,  about 
eight  or  ten  inches,  one  above  the  other.  On 
these  wires  or  shelves,  the  tin  may  be  placed 
for  baking,  and  as  the  heat  of  the  stove  natu- 
rally ascends,  the  tin  ought  to  be  placed  as 
high  as  it  is  convenient  to  be  placed,  if  there 
is  not  occasion  to  fill  the  oven.  Having  now 
described  the  oven,  we  will  now  give  the  pro- 
cess of  baking.  Take  the  tin  v/are  in  its  situ- 
ation above  mentioned,  and  place  it  on  the 
wires,  one  article  beside  the  other,  at  such  a ^ 
distance  apart,  as  to  let  the  heat  betw||Jfi^M 
them.  Then,  begin  the  lire  gradually,  atttT" 
increase  it  moderately,  and  after  the  heat  has 
been  continued  for  the  space  of  one  hour,  the 
door  may  be  opened  ; and  after  the  first  flash 
of  heat  has  subsided,  you  may  walk  in  and 
view  the  work;  if  any  of  the  tin  appears  to  be 
placed  too  near  the  stove,  which  may  be  known 
by  its  melting  the  tin  or  solder,  such  articles 


jiiutft  be  removed  further  from  the  stove.  If 
the  jappan  shoidd  not  be  dark  enough,  increase 
the  tire  and  close  the  door,  and  give  it  another 
heat,  and  when  the  oven  cools,  take  out  the 
tin  ; if  any  particular  articles  should  appear  to 
be  slack  baked,  such  articles  may  be  put  into 
the  next  oven  of  ware  that  is  to  be  baked.  The 
work  then  may  be  ornamented,  and  dried  by 
the  heat  of  the  sun  : when  dry,  varnish  with 
copal  varnish. 

Note.  The  whole  process  of  varnishing 
must  be  done  with  a very  soft  brush,  and  in  a 
warm  room,  and  clear  from  dust. 

A TRANSPARENT  GREEN  PAINT  INVENTED  BY 
SCHEELE  OP  SWEDEN. 

It  is  prepared  in  the  following  manner. — - 
Dissolve  two  pounds  of  blue  vitrol  in  about 
three  gallons  of  boiling  water,  in  a vessel  ca- 
pable of  holding,  at  least  four  gallons  more. — 
In  another  vessel,  boil  together  two  poulids 
of  pearlash,  and  three  quarters  of  a pound  of 
white  arsenic,  in  about  two  and  ahalfgallons 
of  water  ; boil  it  till  the  arsenic  is  dissolved, 
then  pour  this  last  hot  solution  into  the  first, 
while  hot.  A precipitate  will  form,  which, 
when  collected,  washed  and  dryed,  will  be  the 
Scheele’s  green,  and  will  amount  to  about  one 
fourth  of  the  ingredients,  in  colour.  The 
above  colour  may  be  used  in  gum  water,  or 
oil,  and  is  very  beautiful. 


116 


TO  BLEACH  LINSEED  OIL. 

Take  any  quantity  of  linseed  oil,  put  it  into' 
a tin  vessel  that  will  hold  double  the  quantity 
of  oil  that  is  intended  to  be  bleached  ; add  to 
the  oil  clean  soft  water,  till  the  vessel  is  filled 
within  one  or  two  inches  of  the  top  ; set  the 
vessel  on  the  south  side  of  a building,  and  near 
the  roof  that  it  may  be  oat  of  the  reach  qf 
flies,  as  much  as  possible,  and  over  the  top 
may  be  placed  a board  to  serve  as  a temporary 
roof ; giving  a space  of  three  or  four  inches 
betwixt  the  top  of  the  vessel  and  temporary 
roof,  for  the  air  to  circulate  free  over  the  oil, 
and  in  that  situation  it  must  remain  undis- 
turbed for  three  or  four  \Veeks  ; remove  it  gen- 
tly from  its  place,  and  turn  the  oil  (which  will 
remain  upon  the  top  of  the  water)  carefully 
from  the  water ; at  the  bottom  of  the  vessel 
will  be  found  a precipitate  that  has  decended 
from  the  oil,  which  is  of  no  use,  and  the  oil 
that  has  been  decanted  off,  will  be  found  to  be 
almost  as  white,  and  as  limpid  as  spirits  of 
turpentine,  and  is  the  only  oil  that  ought  to  be 
used  in  light  coloured  varnishes.  The  oil  thus 
prepared  is  rendered  something  of  a drying 
quality,  and- by  adding  two  ounces  of  sugar  of 
lead,  ground  fine  in  the  oil,  and  shaking  it  fre- 
quently for  the  space  of  one  week,  it  will  be 
fit  for  any  kind  of  painting,  and  runs  much  ea-- 
sier  under  the  brush  than  boiled  linseed 
oil,  &c. 

Note.  For  the  making  of  copal  varnishes, 


rir  ♦ 

acetate  of  lead  may  be  left  out,  as  it  will  ren- 
der the  varnish  too  drying. 

TO  BOIL  OIL  yOR  PAINTING  AND  THE  PREPAK- 
ATIOn  OF  GOLD  SIZE. 

To  one  gallon  of  linseed  oil,  in  an  iron  ket- 
tle, add  four  ounces  of  red  lead,  and  two  oun- 
ces of  litharge  ; let  the  heat  be  gradually  in- 
creased, till  a thick  scum  arises  on  the  top  of 
the  oil  ; then  throw  in  a few  crusts  of  bread, 
that  are  perfectly  dry,  or  a dry  cracker  ; then 
increase  the  heat  till  the  oil  has  become  entire- 
ly clear,  &c. 

The  preparation  of  gold  size  is  similar  to? 
the  above,  so  far  as  htting  the  oil  for  painting  ; 
the  extra  process  is  follows  : Increase  the 
heat  to  that  degree,  that  the  oil  will  take  fire 
by  applying  a lighted  torch  to  it,  or  by  throw- 
ing a piece  of  cloth  into  it,  and  the  cloth  then 
being  set  on  fire,  the  flame  will  spread  over 
the  surface  of  the  oil.  After  burning  for  the 
space  of  one  minute,  the  blaze  must  be  extin- 
guished, by  covering  the  pot  or  vessel  tight 
with  a board  ; then  uncover  the  pot,  and  apply 
the  fire  again,  and  extinguish  as  before  ; re- 
peat the  operation  till  the  oil  has  become 
thick,  and  of  the  consistence  of  varnish,  which 
may  be  known  by  dropping  a few  drops  on 
some  glass  or  earthern,  when  it  immediately 
becomes  hard  and  pithy,  it  is  done. 


118 


SHAMMY,  OR  CHAMOIS  LEATHER, 

A kind  of  leather,  dressed  either  in  oil  or 
tanned,  and  much  esteemed  for  its  softness, 
pliancj,  and  being  capable  of  bearing  soap 
Avithout  hurt.  The  real  shammy  is  prepared 
of  the  skin  of  the  chamois  goat.  The.  true  cha- 
mois leather  is  counterfeited  Avith  common 
goat,  kid,  and  even  sheep-skin  ; the  practice  of 
AA^hich  makes  a particular  profession,  called  by 
the  French  chamoisure.  The  last  is  the  least 
esteemed,  yet  so  popular  and  such  vast  quan- 
tities are  prepared,  especially  about  Orleans, 
Marseilles,  and  Thoulouse,  that  it  may  not  be 
amiss  to  give  the  method  of  preparation. 

The  manner  of  chamoising,  or  of  preparing 
sheep,  goat,  or  kid  skins  in  oil,  in  imitation  of 
chamois  is  this  : — The  skins  being  Avashed, 
drained  and  smeared  over  Avith  quick  lime,  on 
the  fleshy  side,  are  folded  in  two,  lengthwise, 
the  wool  outwards,  and  laid  on  heaps,  and  so 
left  to  ferment  eight  days  ; or  if  they  had  been 
left  to  dry  after  flaying,  for  fifteen  days.  Then 
they  are  washed  out,  drained,  and  half  dried, 
laid  on  a wooden  leg  or  horse,  the  wool  strip- 
ped off  with  a round  staff  for  the  purpose,  and 
laid  in  a weak  pit,  the  lime  Avhereof  had  been 
used  before,  and  had  lost  the  greatest  part  of 
its  force.  After  twenty-four  hours,  they  are 
taken  out,  and  left  to  drain  tAventy  four  more  ; 
ihen  put  into  another  strong  pit.  Tliis  done, 
they  are  taken  out,  drained  and  put  in  again 
by  turns  ; Avhich  begins  then  to  dispose  to  take 


119 


oil,  and  this  practice  they  continue  ' for  six 
weeks  in  summer,  or  three  months  in  winter; 
at  the  end  whereof  they  are  washed  out,  laid 
on  the  wooden  leg,  and  the  surface  of  the  skin 
on  the  wool  side  pulled  off,  to  render  them  the 
softer  ; when  made  into  parcels,  steeped  a 
night  ill  the  river,  in  winter  more  ; stretch  six 
or  seven  over  one  another  on  the  wooden  leg  ; 
and  the  knife  passed  strongly  on  the  fleshy 
side  to  take  off  any  thing  superfluous,  and 
render  the  skin  smooth.  Then  they  are 
stretched  as  before,  in  the  river,  and  the  same 
operation  repeated  on  the  wool  side  ; then 
thrown  into  a tub  of  water  with  bran  in  it, 
which  is  brewed  among  the  skins  till  the  great- 
est part  sticks  to  them  ; and  then  separated 
into  distinct  tubs,  till  they  swell  and  rise  them- 
selves above  the  water.  By  this  means,  the 
remains  of  the  lime  are  cleared  out ; they  are 
then  wrung  out,  hung  up  to  dry  on  ropes,  and 
sent  to  the  mill,  with  the  quantity  of  oil  neces- 
sary to  fill  them  ; the  best  oil  is  that  of  the 
stock  fish.  Here  they  are  first  thrown  in 
bundles  into  the  river  for  twelve  hours,  then 
laid  in  the  mill  trough,  and  fulled  without  oil, 
till  they  are  well  softened  : then  oiled  by  the 
hand,  one  by  one,  and  thus  formed  into  parcels 
of  four  skins  each,  which  are  milled  and  dried 
on  cords  a second  time,  then  a third  ; then 
oiled  again  and  dried.  This  process  is  repeat- 
ed as  often  as  necessity  requires  ; when  done, 
if  there  is  any  moisture  remaining,  they  arc 
dried  in  a stove,  and  made  up  in  parcels  wrap- 


120 


ped  up  in  wool ; after  sometime,  they  are 
opened  to  the  air,  but  wrapped  up  again  as 
before,  till  such  time  as  the  oil  seems  to  have 
lost  all  its  force,  which  it  ordinarily  does  in 
twenty  four  hours.  The  skins  are  then  re- 
turned from  the  mill  to  the  chamoiser  to  be 
scoured  : which  is  done  by  putting  them  into 
a lixivium  of  wood  ashes,  working  and  beating 
them  in  it  with  poles,  and  leaving  them  to 
steep  till  the  lye  has  had  its  effect  ; then 
wrung  out,  steeped  in  another  lixivium,  wrung 
again,  and  this  repeated  till  all  the  grease  and 
oil  is  purged  out.  They  are  then  half  dried, 
and  passed  over  a sharp  edged  iron  instrument,  ^ 
placed  perpendicularly  in  a block,  which 
opens,  softens,  and  makes  them  gentle  : lastly 
they  are  thoroughly  dried  and  passed  over  the 
same  instrument  again, which  finishes  the  prep- 
aration, and  leaves  them  in  the  form  of  cha- 
mois. 

Kid  and  goat  skins  are  chamoised  in 
the  same  manner  as  those  of  sheep,  excepting 
that  the  hair  is  taken  off  without  tlie  use  of 
lime,  and  that  when  brought  from  the  mill 
they  undergo  a particular  preparation  called 
ramalling,  the  most  delicate  and  difficult  of  all 
the  others.  It  consists  in  this,  that  as  soon  as 
brought  from  the  mill  they  are  steeped  in  a fit 
lixivium ; taken  out,  stretched  on  a round 
wooden  leg,  and  the  hair  scraped  off  with  the 
knife  ; this  makes  them  smooth,  and  in  work- 
ing casts  a fine  nap.  The  difficulty  is  in  scra- 
ping them  evenly. 


V2l 

INK» 

Take  eight  ounces  of  Aleppo  galls  in  coarse 
powder,  four  ounces  of  logwood  in  thin  chips, 
four  ounces  green  copperas,  three  ounces  of 
gum  arabic  in  powder,  one  ounce  of  blue  vit- 
rol,  and  one  ounce  of  sugar  candy.  Boil  the 
galls  and  logwood  together,  in  twelve  pounds 
of  water,  for  one  hour,  or  till  half  the  liquid 
has  been  evaporated,  strain  the  decoction 
through  a hair  sieve,  or  linen  cloth,  and  then 
add  the  other  ingredients.  Stir  the  mixture 
till  the  whole  is  dissolved,  more  especially 
the  gum,  after  which,  leave  it  to  subside  for 
twenty  four  hours.  The  following  will  also 
make  good  ink.  To  one  quart  soft  water,  add 
four  ounces  of  galls,  one  ounce  of  copperas, 
roughly  bruised,  and  tAvo  ounces  gum  arabic. 

RED  INK. 

Take  of  the  raspings  of  Brazil  Avood,  a quar- 
ter of  a pound,  and  infuse  them  two  or  three 
days  in  vinegar.  Boil  the  infusion  for  an 
hour  over  a gentle  fire,  and  afterwards  filter  it 
Avhile  hot.  Put  it  again  over  the  fire,  and  dis- 
solve in  it,  first  half  an  ounce  of  gum  arabic, 
and  afterwards,  of  alum  and  Avhite  sugar, 
each  half  an  ounce. 

SYMPATHETIC  INK. 

Dissolve  some  sugar  of  lead  in  Avater,  and 
11 


•sprite  with  the  solution.  When  dry,  no  writing 
will  be  visible  ; when  you  wish  it  to  appear, 
wet  the  paper  with  a solution  of  alkaline  sul- 
phuret. 

TO  MAKE  A FINE  LIQUID  BLUE  FOR  PAINTING 
ON  VELVET  AND  PAPER. 

Put  into  a large  common  phial  or  some  oth- 
er glass  vessel,  one  ounce  of  Prussian  blue, 
reduced  to  powder,  and  pour  over  it  an  ounce 
of  concentrated  muriatic  acid,  the  mixture 
jiroduces  an  effervescence,  and  soon  assumes 
the  consistence  of  thin  paste.  Leave  it  in  this 
state  for  twenty  four  hours,  then  dilute  with 
eight  or  nine  ounces  of  water,  and  preserve  the 
colour  in  a bottle  well  stopped  for  use,  and 
gum  water  made  from  gum  tragacanth  may  be 
added  to  reduce  it.  ,This  colour,  applied  to 
wood  as  a stain,  and  secured  with  varnish, 
would  form  a beautiful  foil,  &c. 

MURIATE  OF  GOLD 

Is  formed  by  dissolving  gold  in  nitro  muriat- 
ic acid.  Gold  or  silver  powder  or  bronze,  is 
prepared  in  different  ways.  The  first  and 
simplest  is  to  put  into  a glass  or  wedge  wood 
mortar,  or  a clean  marble  stone,  some  gold  or 
silver  leaves  with  a little  honey  or  molasses, 
and  grind  the  mixture  for  a considerable  time, 
till  the  gold  is  reduced  to  extremely  minute 
particles.  When  this  is  done,  add  to  it  some 


m 


warm  water  that  is  soft,  in  a bowi  or  glass 
tumbler,  and  wash  out  the  glutinous  substance, 
leaving  the  gold  or  silver  powder  behind ; 
decant  off  the  water  ahd'repeat  the  operation, 
till  the  water  remains  clear;  then  gradually 
dry  the  gold  or  silver  powder  in  the  same  ves- 
sel on  a warm  stove  or  in  the  hot  sun  clear 
from  dust. 

TEETH  AND  AGE  OF  THE  HORSE. 

The  horse  has  forty  teeth ; twenty  four 
double  teeth  or  grinders,  four  tushes  or  single 
teeth,  and  twelve  front  teeth  or  gatherers. — 
Mares  in  general  have  no  tushes.  The  black 
marks  or  cavities,  which  denote  the  age,  are 
to  be  found  in  the  corner  front  teeth,  adjoining 
the  tushes.  Horned  cattle  have  similar  marks 
in  the  tush.  At  four  years  and  a half  old,  the 
mark  teeth  are  just  visible,  above  the  gums, 
and  the  cavity  is  very  conspicuous.  At  five 
the  horse  sheds  his  remaining  colt’s  teeth,  and 
his  tushes  appear.  At  six,  his  tushes  are  up 
and  appear  white,  small,  and  sharp;  near 
which  is  observable,  a,  small  circle  of  young 
growing  flesh  : the  horse’s  mouth  is  then  com- 
plete, and  the  corner  teeth  filled  up.  At  seven 
years  old  the  two  middle  teeth  fill  up.  At  eight 
the  black  marks  vanish,  and  the  horse’s  moutlv 
is  said  to  be  full  and  himself  aged. 


TO  STAIN  PAPER  OF  ANY  COLOUR. 


Paper  or  parchment  may  be  stained  in  the 
following  manner.  Yellow,  by  means  of  a 
\vash  made  of  French  berries,  boiled  with  a lit- 
tle alum  ; but  a more  beautiful  may  be  made 
from  a tincture  of  turmeric,  obtained  by  infus- 
ing an  ounce  or  more  of  the  powdered  root  of 
turmeric,  in  a pint  of  spirits  of  wine,  which 
may  be  made  so  as  to  give  any  tint  of  yellow, 
from  the  palest  straw  colour  to  the  deep  and 
full  colour,  called  French  yellow,  and  will  he 
equal  in  brightness  to  the  finest  dyed  silk.  If 
the  color  be  wished  of  a redder  or  warmer 
east,  approaching  orange  colour,  annatto  or 
dragon’s  blood  must  be  added  to  the  wash,  in 
such  proportion  as  to  give  the  shade  required. 
The  best  method  of  using  this,  or  any  colour 
for  staining  paper  or  parchment,  is  to  spread* 
them  evenly  over  the  surface,  by  means  of  a 
broad  brush,  or  sponge  in  the  manner  of  var- 
nishing. A green  colour  is  made  by  a solution 
of  verdigris  in  vinegar,  or  chrystals  of  verdi- 
gris, dissolved  in  water;  also,  by  a solution  of 
the  filings  of  copper,  in  aquafortis,  or  spirit  of 
salt  being  gradually  added  to  either.  Blues 
are  made  by  first  staining  the  paper  green,  ac- 
cording to  any  of  the  above  methods,  and  then 
using  a solution  of  pearlashes  ; or  by  preparing 
indigo  with  soap  lyes,  in  the  manner  com- 
monly used  by  dyers  ; brushing  it  over  hot, 
and  afterwards  using  a solution  of  an  ounce 
and  a half  of  white  tartar,  in  a pint  of  water. 


before  it  is  quite  dry.  Orange  colour  is  made 
by  means  of  the  turmeric  root,  as  above  di~ 
rected  for  the  yellow,  and  afterwards  brushing 
it  over  with  a solution  of  fixed  alkaline  salt, 
made  by  dissolving  half  an  ounce  of  pearlash- 
es  or  salt  of  tartar,  in  a quart  of  water,  andfil- 
teringthe  solution. 

LACQUERS, 

Are  varnishes  ap}3lied  upon  tin,  brass,  and 
other  metals.  The  basis  of  lacquer  is  a solu- 
tion of  the  resinous  substance  called  seed  lac, 
in  spirits  of  wine.  The  spirit  aught  to  be  very 
much  concentrated  in  order  to  dissolve  much 
of  the  lac.  For  this  purpose  some  authors  di- 
rect dry  potass  to  be  thrown  into  the  spirit. — 
This  alkali  attracts  the  water  with  which  it 
forms  a liquid,  that  subsides  distinctly  from 
the  spirit  at  the  bottom  of  the  vessel.  From 
this  liquid  the  spirit  may  be  separated  by  de^ 
cantation.  By  this  method,  the  spirit  is  much 
concentrated ; but  at  the  same  time  it  be- 
comes impregnated  with  part  of  the  alkali, 
which  depraves  its  colour,  and  communicates 
a property  to  the  lacquer,  of  imbibing  moisture 
from  the  air.  These  inconveniences  may  be 
prevented  by  cleansing  the  spirit  from  the  al- 
kali, by  adding  to  it  some  calcined  alum  ; the 
acid  of  which  uniting  with  the  alkali  remain- 
ing in  the  spirit,  forms  with  it  a vitriolated 
tartar,  which  not  being  soluble  in  spirits  of 
wine,  falls  to  the  bottom,  together  with  the 
11* 


1^6 

earth  of  the  decomposed  alum.  To  a pint  of 
the  purified  spirit,  about  three  ounces  of  the 
powdered  slieliac  are  to  be  added,  and  the 
mixture  to  be  digested  during  the  same  day 
with  a moderate  heat.  The  liquor  ought  then 
to  be  poured  off,  strained  and  cleared  by  set- 
tling. This  clear  liquor  is  now  fit  to  receive 
the  required  colour  from  certain  resinous  col- 
ouring substances,  the  principal  of  which  are 
gamboge  and  annotto  ; 'the  former  giving  a 
yellow  colour,  and  the  latter  an  orange.  In 
order  to  give  a golden  colour,  two  parts  of 
gamboge  are  added  to  one  of  annotto  ; but 
these  colouring  substances  may  be  separately 
dissolved  in  the  tincture  oflac,  and  the  colour 
required  may  be  adjusted  by  mixing  the  two 
solutions  in  different  proportions.  When  silver 
leaf  or  tin  is  to  be  lacquered,  a larger  quantity 
of  the  colouring  materials  is  requisite,  than 
when  the  lacquer  is  intended  to  be  laid  on 
brass. 

LACQ.UER  VARNISH. 

Take  one  quart  of  the  strongest  brandy  and 
mix  it  in  one  pound  of  calcined  tartar  ; let  the 
brandy  stand  upon  the  tartar,  for  one  day,  in 
a gentle  beat ; then  strain  it  through  paper. — 
Or  thus,  take  one  pint  of  brandy,  six  ounces 
of  anqber,  six  ounces  of  gum  sandarack,  two 
ounces  of  shellac.  Mix  these  together,  and 
place  the  vessel  in  an  iron  pot  filled  with  sand, 
which  may  be  gradually  heated.  On  putting 


the  vessel  into  the  sand,  add  another  pint  of 
brandy,  and  frequently  shake  the  vessel  until 
the  gums  are  dissolved  ; then  bottle  for  use. 

ANOTHER  LACQUER  VARNISH.  , 

Take  one  ounce  and  a half  of  clear  Cyprus'^ 
turpentine,  two  ounces  gum  niastick,  and  one 
ounce  gum  sandarack  ; powder  the  gums  and 
add  two  ounces  of  oil  spikenard,  one  ounce 
oil  turpentine,  and  set  them  in  a kettle  of  hot 
sand  ; when  dissolved,  filter  for  use. 

Note.  This  is  proper  for  laying  over  all 
ground,  where  transparency  is  required. 

A VARNISH  FOR  PLASTER  OF  PARIS,  TO  GIVE 
THE  APPEARANCE  OF  MARBLE. 

Take  fine  white  Alicant  or  shaving  soap, 
and  scrape  it  fine  ; put  it  into  a glazed  earth- 
ern  pot,  with  a little  v/arm  water,  and  stir  it 
until  it  becomes  milky  ; cover  it  from  the  dust, 
and  let  it  stand  eight  days,  and  it  will  acquire 
the  consistence  of  fine  varnish.  Your  varnish 
thus  made,  take  a soft  brush,  rather  short  in 
the  hand,  and  brush  the  plaster  over  with  it 
gently,  and  set  the  plaster  in  a place  to  dry, 
free  from  dust ; then  gently  rub  it  over  with  a 
piece  of  soft  linen,  placing  yourself  between  it 
and  the  light,  that  you  may  see  how  it  takes 
the  polish.  SVhen  this  is  done,  let  it  dry,  and 
it  will  liave  the  appearance  of  marble. 


ENAMELLING. 


The  art  of  laying  enamel  upon  metals,  such 
as  gold,  silver,  copper,  &oc.  and  of  melting  it 
at  the  fire,  or  of  making  divers  curious  works 
in  it,  at  a lamp.  Enamel  is  a kind  of  coloured 
glass,  used  in  enamelling  and  painting  in  en- 
amel. Enamels  have^  for  their  basis,  a pure 
chrystal  glass,  or  frit  ground  up  with  a fine 
calx  of  lead  and  tin,  prepared  for  the  purpose 
with  the  addition  usually,  of  white  salt  of  tar- 
tar. These  ingredients,  baked  together,  are 
the  matter  of  all  enamels,  which  are  made  by 
adding  colours  of  diiferent  kinds  in  powder, 
to  this  matter,  and  melting  or  incorporating 
them  together,  in  a furnace.  For  white  enam- 
el, managenese  is  to  be  added  to  the  matter, 
which  constitutes  the  basis  ; for  azure,  zaffer 
mixed  with  calx  of  brass  ; for  green,  calx  of 
brass  with  scales  of  iron  ; for  black,  zaffer 
with  managenese  and  tartar  ; for  red,  mana- 
genese or  calx  of  copper  and  red  tartar  ; for 
purple,  managenese  with  calx  of  brass  ; for 
yellow,  tartar  and  managenese.  In  making 
these  enamels,  the  following  general  cautions 
are  necessary.  First,  that  the  pots  must  be 
glazed  with  white  glass,  and  must  be  such  as 
will  bear  the  fire  ; secondly,  that  the  matter  of 
enamels  must  be  very  nicely  mixed  with  the 
colours  ; thirdly,  when  the  enamel  is  good  and 
the  colour  w^ell  incorporated,  it  must  be  taken 
from  the  fire,  with  a pair  of  tongs  ; fourthly, 
the  general  way  of  making  the  coloured  enam- 


els,  is  this  : powder,  sift  and  gTirid,  all  the  coh 
ours  very  nicely,  and  first  mix  them  with  one 
another,  and  then,  with  the  common  matter  of 
enamels,  then  set  them  in  pots,  in  a furnace, 
and  when  they  are  well  mixed,  cast  them  into 
w'ater  ; and  when  dry,  set  them  into  the  fur- 
nace again,  and  when  melted,  take  a proof  of 
it.  If^of  too  deep  a colour,  add  more  of  the 
common  matter  of  enamels,  and  if  too  pale, 
add  more  of  the  colours'.  Enamels  are  used 
either  in  counterfeiting  or  imitating  precious 
stones;  in  painting  in  enamel,  or  by  enamel- 
lers,  jewellers,  and  goldsmiths,  in  gold,  sil- 
ver, and  other  metals. 

THE  METHOD  OE  PAINTING  IN  ENAMEL. 

This  is  performed  on  plates  of  gold,  or  sil- 
ver, or  most  commonly,  of  copper,  enamelled 
with  the  white  enamel,  which  they  paint  with 
colours  melted  in  the  fire,  where  they  take  a 
brightness  and  lustre  like  that  of  glass.  This 
painting  is  the  most  prized  of  all,  for  its  pecu- 
liar brightness  and  vivacity,  which  is  very  per- 
manent ; the  force  of  its  colours  not  being  ef- 
faced or  sullied  with  time,  as  in  other  painting, 
and  continuing  always  as  fresh  as  when  it 
came  out  of  the  workman’s  hands. 

Very  fine  enamelling  should  only  be  prac- 
tised on  plates  of  gold  ; nor  must  the  plate  be 
made  flat,  for  in  such  case,  the  enamel  cracks  ; 
to  avoid  which,  they  usually  forge  them  a little 
round,  or  oval  and  not  too  thick.  The  plate 


ISO 


bt3iiig  well  and  evenly  forged,  they  usually  be- 
gin the  operation  by  laying  on  a couch  of 
white  enamel,  on  both  sides,  to  prevent  the 
metal  from  swelling  and  blistering  ; and  this 
first  Jay  serves  for  the  ground  for  all  the  otlier 
colours.  The  plate  being  thus  prepared,  they 
begin  at  first,  by  drawing  out  exactly,  tl^  sub- 
ject to  be  painted,  with  red  vitrol,  mixed  with 
oil  of  spike,  marking  all  parts  of  the  design 
very  lightly,  with  a small  pencil.  After  this, 
the  colours  (which  are  to  be  previously  ground 
with  water  in  a mortar  of  agate,  extremely 
fine,  mixed  with  oil  of  spike  somewhat  thick,) 
are  to  be  laid  on,  observing  the  mixtures  and 
colours  that  agree  to  the  different  parts  of  the 
subject.  When  the  colours  are  all  laid,  the 
painting  must  be  gently  dried,  over  a slow  fire, 
to  evaporate  the  oil,  and  the  colours  afterward 
melted,  to  incorporate  them  with  the  enamel, 
making  the  plate  red  hot  in  a fire,  such  as  the 
enamellers  use.  Afterwards,  that  part  of  the 
painting  must  be  passed  over  again,  which  the 
fire  has  any  way  effaced,  strengthening  the 
shades  and  colours,  and  committing  it  again 
to  the  fire,  observing  the  same  method  as  be- 
fore, which  is  to  be  repeated  till  the  work  is. 
finished. 

ENCHASING,  INCHASING,  OR  CHASING, 

Is  the  art  of  enriching  and  beautifying  gold, 
silver,  and  other  metal  work  by  some  design, 
or  figures,,  represented  thereon,  in  low  releivo- 


131 


Enchasing  is  practised  only  on  hollow  thin 
works,  as  watch  cases,  cane  heads,  tweezer 
casesj  <fcc.  It  is  performed  by  punching-,  or 
driving-  out,  the  metal  to  form  the  figure  from 
the  inside,  so  as  to  stand  out  prominent  from 
the  plane  or  surface  of  the  metal.  In  order 
to  do  this,  they  provide  a number  of  fine  steel 
blocks,  or  puncheons  of  difibrent  sizes  ; and 
the  design  being  drawn  on  the  surface  of  the 
metal,  they  apply  the  inside  upon  the  heads  or 
tops  of  these  blocks,  directly  under  the  lines 
or  parts  of  the  figures;  then  with  a fine  ham- 
mer, striking  on  the  metal,  sustained  by  the 
block,  the  metal  yields  and  the  block  makes  an 
indenture  or  cavity  on  the  inside,  correspond- 
ing to  which,  there  is  a prominence  on  the 
outside,  which  is  to  stand  for  that  part  of  the 
figure.  Thus  the  workman  proceeds  to  chase 
and  finish  all  the  parts  by  successive  applica- 
tion of  the  block  and  hammer  to  the  several 
parts  of  the  design.  And  it  is  wonderful  to 
observe  with  w^hat  beauty  and  justness,  by  this 
simple  piece  of  mechanism,  the  artists  in  this 
line,  will  represent  foliages,  grotesques,  ani- 
mals, histories,  &:c. 

MEZZOTINTO  ENGRAVING,  OR  SCRAPING. 

Mezzotinto  prints  are  those  which  have  no 
patching,  or  strokes  of  the  graver,  but  Avhose 
lights  and  shades  are  blended  together,  and 
appear  like  a drawing  in  Indian  ink.  They 
are  different  from  aquatinta  ; but  as  both  re- 


132 


f;eiiible  Indian  ink,  the  difference  is  not  easily 
described.  Mezzotinto  is  applied  to  portraits 
and  historical  subjects.  The  tools  necessary 
for  mezzotinto  scraping,  are  the  grounding 
tool,  burnishers  and  scrapers.  To  lay  the 
mezzotinto  ground,  lay  your  plate  with  a piece 
of  flannel  under  it,  upon  your  table  ; hold  the 
grounding  tool  in  your  hand,  perpendicularly  ; 
lean  upon  it  moderately  hard, Continually  rock- 
ing your  hand  in  a right  line,  from  end  to  end, 
till  you  have  wholly  covered  the  plate  in  one 
direction  ; next,  cross  the  stroke  from  side  to 
side  ; afterwards,  from  corner  to  corner,  work- 
ing the  tool  each  time,  all  over  the  plate,  in 
^very  direction,  almost  like  the  points  of  a 
compass,  taking  all  possible  care  not  to  let  the 
tool  cut,  (in  one  direction,)  twice  in  a place. 
This  done,  the  plate  will  be  full,  or  in  other 
words,  all  over  rough  alike,  and  would,  if  it 
w’'as  printed,  appear  completely  black.  Hav- 
ing laid  the  ground,  take  the  scrapings  of 
black  chalk,  and  wdth  a piece  of  rag,  rub  it 
over  the  plate.  Now  take  your  drawing,  and 
having  rubbed  the  back  with  red  chalk  dust, 
mixed  with  flake  white,  proceed  to  trace  it  on 
the  plate.  To  form  the  lights  and  shadows, 
take  a blunt  needle  and  mark  out  the  outlines 
only  ; then,  with  a scraper,  scrape  offthe  lights 
in  every  part  of  the  plate,  as  clean  and  smooth 
as  possible,  in  proportion  to  the  strength  of 
the  lights  in  your  drawing,  taking  care  not  to 
hurt  your  outlines.  When  your  plate  is  ready 
for  taking  a proof,  or  impression,  send  it  to 


the  copper-plate  printer,  and  get  it  proved. — ■ 
When  the  proof  is  dry,  touch  it  with  white 
chalk,  where  it  should  be  lighter,  and  v/ith 
black  chalk  where  it  should  be  darker  ; and 
vrhen  the  print  isretouched,  proceed  as  before, 
for  the  lights,  and  for  the  shades,  use  a small 
grounding  tool,  as  much  as  you  judge  necessa- 
ry to  bring  it  to  a proper  colour  ; and  when 
you  have  done  as  much  as  you  think  expe- 
dient, prove  it  again  ; and  so  proceed,  to  im- 
prove and  touch,  till  it  is  entirely  to  your 
mind. 

ETCHING  ON  GLASS. 

Glass  resists  all  the  acids  except  the  fluoric 
acid.  By  this,  however,  it  is  corroded  in  the 
same  manner  as  copper  is  by  aquafortis,  and 
plates  of  glass  may  be  engraven  in  the  same 
manner  as  copper.  There  are  several  meth- 
ods of  performing  this.  We  shall  first  describe 
the  mode  of  etching  with  fluoric  acid.  Having 
covered  over  the  glass,  to  be  etched,  with  a 
thin  coat  of  white  bleached  beeswax,  draw  the 
design  upon  it,  in  the  same  manner  as  in  etch- 
ing on  copper.  Then  take  some  fluorspar, 
commonly  called  Derbyshire  spar  ; pound  it 
fine,  and  put  it  into  a leaden  vessel,  pouring 
some  sulphuric  acid* over  it.  Place  the  glass 
with  the  etched  side  lowermost,  over  this  ves- 
sel, two  or  three  inches  above  it.  Apply  a 
gentle  heat  to  the  leaden  vessel  ; this  will 
cause  the  acid  to  act  upon  the  fluor  spar,  and 


134 


disengage  the  gas,  which  will  corrode  the 
glass.  AVhen  it  is  sufficiently  corroded  remove 
the  wax  by  oil  of  turpentine. 

ANOTHER  WAY. 

The  etching  may  be  also  performed,  by 
raising  a margin  of  bordering-wax  all  around 
the  glass,  in  the  same  manner  as  on  copper, 
and  pouring  on  the  liquid  fluoric  acid,  which 
acts  upon  the  glass.  A third  method  of  etching 
on  glass,  is  as  follows  : — Having  put  the  wax 
on  the  glass,  draw  your  design  and  raise  a 
margin  all  round  it.  Then  put  pounded  flu  or 
spar  with  some  sulphuric  acid,  diluted  with 
water  upon  the  glass.  The  sulphuric  acid  will 
disengage  the  fluoric,  which  will  be  absorbed 
by  the  water  and  corrode  the  glass. 

BLANCHING. 

Blanching  is  performed  by  beating  the  pie- 
ces on  a kind  of  peel,  with  a wood  fire  in  the 
manner  of  a reverbatory  ; so  that  the  flame 
passes  over  the  peel.  The  pieces  being  suffi- 
ciently heated  and  cooled  again,  are  put  suc- 
cessively to  boil  in  two  pans,  which  are  of 
copper  ; in  these  they  put  water,  common  salt, 
and  tartar.  When  they  have  been  well  drained 
of  this  water,  in  a copper  sieve,  they  throw 
sand  and  fresh  water  over  them,  and  when  dry, 
they  are  well  rubbed  with  towels. 


135 


MARBLING, 

Is  the  painting  any  thing  with  veins  and 
clouds,  so  as  to  represent  those  of  marble. — 
Marbling  of  books,  or  paper,  is  performed 
thus.  Dissolve  four  ounces  of  gum  arabic,  in 
two  quarts  fair  water,  then  provide  several 
colours,  mixed  with  water  in  pots  or  shells, 
and  with  pencils,  peculiar  to  each  colour, 
sprinkle  them  by  way  of  intermixture,  upon 
the  gum  water,  which  must  be  put  into  a 
trough,  or  some  broad  vessel;  then  with  a 
stick,  curl  them  or  draw  them  out  in  streaks 
to  as  much  variety  as  may  be  done.  Having 
done  this,  hold  your  book  or  books  close  to- 
gether, and  only  dip  the  edges  in,  on  the  top 
of  the  water,  and  colours  very  lightly  ; which 
done,  take  them  olf,  and  the  plain  impression 
of  the  colour  in  mixture,  will  be  upon  the 
leaves;  doing  as  well,  the  ends  as  the  front  of 
the  book  in  like  manner.  Marbling  books  on 
the  cover,  is  performed  by  forming  clouds  with 
aquafortis,  or  spirit  of  vitrol,  mixed  with  ink, 
and  afterwards  glazing  the  covers. 

TO  STOP  CRACKS  IN  STOVES. 

Ashes,  salt,  plaster  of  Paris,  a small  quan- 
tity of  iron  filings,  made  into  a paste  with  wa- 
ter, about  as  thick  as  tar,  and  applied  to  the 
crack,  when  the  stove  is  cool,  and  when  dried, 
will  be  sound  and  durable. 


loO 

TAX TAXNJ  XC;. 

Tail  is  6ark  ground  fine,  to  be  used  in  llic 
tanning  of  jeather.  Tan  exists  in  a great 
number  of  vegetable  substances,  particularly, 
in  the  bark  of  the  old  white  oak,  and  in  the 
young  white  oak,  and  in  almost  all  kinds  of 
oak,  hemlock,  birch,  beech,  sumach  leaves, 
and  sticks  of  one  year’s  growth,  &c.  It  is“ 
from  the  skin  of  animals,  that  leather  is  form- 
ed, and  the  goodness  of  the  leather,  and  its 
strength,  depend  in  some  measure,  on  the 
toughness  of  the  hides.  The  process  by  which 
the  skins-of  animals  are  converted  into  leathci  j 
is  called  t:inning.  It  seems  to  have  been 
known,  and  practised  in  the  earliest  ages,  it 
IS  to  the  tan,  that  leather  owes  its  insolubility, 
and  its  power  of  resisting  putrefaction;  Wheti 
hides  are  to  be  tanned,  the  first  step,  (if  dry,) 
is  to  make  them  perfectly  soft,  by  v/orking 
them  on  a beam,  or  otherwise,  until  they  arc 
as  soft  as  when  taken  from  tlie  creature,  in  or- 
der to  free  them  from  hair  ; there  arc  various 
ways,  such  as  smoking,  or  sweating,  or  steep- 
ing them  in  water,  until  they  begin  to  putrefy — 
all  the  above  ways  are  used  in  England.  But 
I should  think  the  surest  process  to  be,  to  lay 
them  down  in  lime,  or  handle  them  in  lime, 
until  the  hair  will  easily  come  off.  When  they 
are  deprived  of  the  hair,  and  well  soaked  and 
worked  on  the  hair  and  flesh  side,  there  are 
three  ways  in  which  they  prepare  these  liides 
Ml  England,  for  tanniiig,  called  lime  corci, 


sledj^  bend,  and  vitrol  bend  ; all  orvvhicli  are 
for  sole  leather. 

LIME  CORD. 

After  the  hides  are  deprived  of  their  hair, 
they  are  put  into  a strong  lime  with  about  half 
a bushel  of  salt,  to  about  forty  sides,  and  han- 
dled about  twelve  days  ; at  which  time,  the 
hides  will  become  considerably  increased  in 
thickness.  They  are  then  taken  out  and 
rinsed  in  elear  water,  and  well  worked  on  the 
hair  and  flesh  side,  and  then  laid  away  in  bark 
liquor,  and  thus  tanned. 

SLEDGE  BEND. 

This  kind  of  leather  is  made,  by  first  pre- 
paring a vat  sufficiently  large  to  contain  the 
hides,  you  intend  to  work  therein  ; having 
filled  your  vat  about  half  full  of  clear  water, 
put  in  as  much  rye  meal  as  will  make  a good 
ferment ; put  in  your  bides  and  handle  them 
in  this  liquor,  until  they  are  raised  to  such 
thickness  as  you  choose  ; they  are  then  taken 
out,  rinsed  and  worked  on  the  flesh  and  grain, 
and  laid  away  in  bark  liquor,  with  good  fine 
bark. 

VITROL  BEND. 

After  your  hides  are  well  sdaked  and 
worked  on  the  flesh  and  hair  sides,  proceed  to 
12^ 


bkndle' tiieiii  in  a weak  suiution  of  bark,  three' 
days  or  until  they  are  well  coloured  on  the 
grain  side  ; then  prepare  a vat  sufficient  to 
contain  the  hides  you  intend  to  put  in,  fill  it 
about  half  full  of  clear  water,  put  into  the  vat 
two  ounces  of  sulphuric  acid  to  each  side  ; 
then  stir  it  well,  and  plunge  your  hides  into  the 
lixivium  and  keep  continually  stirring  them  for 
two  hours,  then  draw  them  out,  and  if  you 
wish  your  hides  more  raised,  or  made  thicker, 
you  may  add  two  ounces  more  of  the  acid  ; 
stir  them  as  before  mentioned,  until  they  are 
of  a thickness  that  best  suits.  When  done, 
have  ready  a vat  to  lay  them  away*,  and  a 
.liquor  made  as  follows  ; — fill  five  vats  of  bark, 
containing  sixty  bushels  each  ; begin  by  letting 
water  on  the  first,  and  with  a pump,  take  it 
from  that  and  so  on,  until  ymu  get  the  fifth 
Yat  filled  ; then  purnp  this  liquor  into  your 
vat,  prepared  for  your  hides  ; then  lay  your 
hides  in,  and  put'a  small  quantity  of  bark  be- 
tween each  hide,  and  they  may  lie  in  this  liquor 
two  w'eeks,  when  they  are  to  be  taken  out  and 
the  same  process  of  barking  continued  ; let 
them  lay  one  month,  and  proceed  as  before  ; 
observe  at  this  time  of  laying,  to  put  into  your 
liquor,  eight  quarts  of  salt,  and  ten  pounds  of 
alum,  powdered  fine. 

UPPER  LEATHER. 

N 

upper  leather,  and  skins,  after  being  limed 
and  well  worked  down  in  a grainer,  made  of 


1^9 


hen  or  pigeon  dung,  and  once  worked  on  the 
grain  and  flesh  side,  in  clear  water,  will  be  in 
a fit  state  to  receive  the  tan.  The  sides  or 
skins  ought  then  to  be  handled  in  a weak  so- 
lution of  bark,  until  they  are  well  coloured  on 
the  grain,  which  will  take  perhaps,  six  days. 
Then,  if  the  leather  is  intended  to  be  sold  af- 
ter it  is  tanned,  the  best  inetbod  will  be  to  make 
ready  a vat  about  half  full  of  clear  water,  and 
put  into  this  water  one  ounce  of  sulphuric  acid 
to  each  side,  and  handle  them  in  this  liquor, 
ten  hours  ; if  skins,  one  ounce  to  eight  skins  ; 
after  being  thus  handled,  have  ready  a good 
strong  liquor  from  leached  bark,  with  the  ad- 
dition of  four  pounds  of  common  salt,  and  two 
pounds  of  alum,  to  thirty  sides  or  sixty  skins. 
And  if  continued  in  a good  strong  liquor,  and 
handled  sixty  days,  (remembering  always  to 
continue  the  alum  and  salt  as  aforesaid,)  the 
sides  will  be  quite  tanned ; but  it  is  recom- 
mended to  lay  them  avvay  for  about  one  month, 
in  bark,  in  the  following  manner  : — ‘put  the 
grain  of  ttvo  sides  together,  without  any  bark, 
and  put  the  bark  upon  the  flesh  side,  and  so 
continue  until  your  vat  is  full.  Upper  leather, 
tanned  in  this  way,  will  weigh  when  dried, 
fifteen  per  cent  more  than  the  common  way 
of  tanning ; and  much  more  bright  on  the 
grain  side.  The  author  has  tanned  Calcutta 
hides  by  the  above  process,  in  twenty  six  days, 
without  laying  them  away  in  bark,  and  they 
proved  by  wear,  to  be  of  the  first  quality. — 
Skins  tanned  by  the  above  process,  ar^e  hand- 


ilo 


somer  and  will  weigh  considerably  more  than 
by  the  usual  process. 

TO  SOFTEN  DRY  HIDES. 

Put  twenty  pounds  of  potash  into  a vat,  and 
fill  up  the  vat  with  clear  water  sufficiently  to 
contain  thirty  hides  ; and  after  the  potash  is 
dissolved,  stir  up  the  liquor  well,  and  put  in 
your  hides,  and  they  will  be  fit  to  work  in  a 
few  days  ; and  by  once  working  them  on  the 
beam,  will  be  as  soft  as  if  fulled  or  ground  ; 
and  by  adding  five  pounds  more  of  potash,  you 
may  soften  forty  hides  more,  and  so  on  for  a 
greater  number. 

WHITE  LEATHER* 

Take  three  times  the  quantity  of  common 
salt,  made  fine,  to  one  of  sulphuric  acid,  put 
into  such  quantity  of  water  as  will  contain  the 
number  of  skins  you  intend  to  dress ; your 
skins  being  first  prepared  as  for  bark,  and  in 
two  days  time,  will  be  fit  to  hang  up  and  dry. 
Finished,  the  same  as  alum  dressed. 

TO  SOFTEN  STEEL  FOR  ENGRAVING. 

Steel  immersed  in  lye  ten  days,  made  of 
white  oak  ashes,  becomes  soft  and  fit  for  en- 
graving. 


141 


^FIUIT  OF  SOAP  FOR  SHA^  INO. 

Pound  an  ounce  of  Castile  soap,  with  about 
a quarter  of  an  ounce  of  salt  of  tartar,  in  a 
marble  mortar,  to  which  add  gradually,  half  a 
pint  of  lavender  water.  Incorporate  the  whole 
together,  strain  it,  and  keep  the  whole  in  phi- 
als, closely  stopped.  When  wanted  for  use, 
let  a few  drops  fall  into  a spoonful  of  water, 
and  rub  the  mixture  into  a lather.  This  will 
be  found  far  superior  to  any  common  soap. 

PRUSSIAN  BLUE  A^S  RECOMMENDED  BY  PR.  JOHN 
PRNNINGTON. 

- Mix  six  pounds  of  pounded  burnt  black 
hones,  with  one  pound  of  potash  ; press  these 
ingredients  closely  into  an  iron  pot,  and  cover 
It  well  with  an  iron  cover,  well  plrJstered  with 
moistened  clay  ; expose  the  pot  to  a bright 
red  heat  for  three  or  four  hours;  then  cool 
gradually,  and  take  out  the  ingredients  ; dis- 
solve the  soluble  parts  in  hot  water,  and  strain 
through  flannel.  If  the  blue  he  desired  T)f  the 
very  first  quality,  pour  into  the  liquor,  either 
spirits  of  salt,  or  oil  vitrol,  until  the  efferves- 
cence ceases  on  the  fresh  addition  of  the  spir- 
it of  oil  ; — pour  the  whole  into  a solution  of 
green  vitrol,  made  by  dissolving  half  a pound 
of  copperas,  in  tsvo  gallons  of  water.  If  a 
light  kind  of  blue  is  wished,  add  a Icss  quantitj' 
of  spirit  of  salt,  or  oil  of  vitrol  to  the  liquor 
from  ihe  hones  ; -in  which  case,  add  a quarter 


of  a pound  of  alum  to  the  solution  of  green  vit- 
rol ; then  mix  a little  of  the  two  liquors  togeth- 
er, as  before, — at  the  instant  of  mixing  the  two 
liquors,  which  before  were  colourless  and 
transparent,  the  mixture  becomes  of  a deep 
blue.  In  a few  hours,  the  fecula  subsides  and 
bears  a transparent  liquid  on  the  top,  which 
must  be  gently  poured  off  and  thrown  away. 
The  sediment  must  be  stirred  up  with  clean 
hot  water  and  suffered  again  to  subside  ; this 
must  be  repeated  ; then  strained  through  pa- 
per, and  what  remains  on  the  paper,  must  be 
dried  on  a cake  of  chalk. 

GOLD  LACQUER. 

Take  of  Spanish  annatto  two  ounces,  two 
ounces  of  shellac,  one  ounce  of  gumniiastick, 
one  pint  of  rectified  spirits  of  wine.  Mix  them 
and  let  them  stand,  until  all  are  dissolved. 

SILVER  LACQUER. 

Take  of  cream  of  tartar  two  ounces,  of  cal- 
amine stone  prepared  two  ounces,  gum  San- 
ders one  ounce.  Dissolve  them  in  half  a pint 
of  spirits  of  wine. 

smith’s  best  black  ink. 

Take  of  copperas  half  a pound,  gum  arabic 
half  a pound,  powdered  galls  one  and  a half 
pounds,  alum  two  ounces,  rain  v/ater  six 
quarts,  vinegar  half  a pound. 


143 


TO  MAKE  MAIIOGONY. 

It  has  been  contrived  to  render  any  species 
of  wood,  of  a close  grain,  so  nearly  to  resem- 
ble mahogony  in  the  texture,  density,  and  po- 
lish, that  the  most  accurate  judges  are  inca- 
pable of  distinguishing  between  this  happy 
imitation,  and  tlie  native  produce.  The  first 
operation  as  now  practised,  in  France,  is  to 
plane  the  surface,  so  as  to  render  it  perfectly 
smooth  ; the  wood  is  to  be  rubbed  with  a solu- 
tion of  nitrous  acid,  which  prepares  it  for  the 
materials  subsequently  to  be  applied.  After- 
wards, one  ounce  and  a half  of  dragon’s  blood, 
dissolved  in  a pint  of  spirits  of  wine,  and  one 
third  of  that  quantity  of  carbonate  of  soda, 
are  to  be  mixed  together,  and  filtered,  and  the 
liquid  in  this  thin  state,  is  to  be  rubbed,  or 
rather  laid  on  the  wood,  with  a soft  brush. — 
This  process  is  repeated  with  very  little  alter- 
ation, and  in  a short  interval  afterwards,  the 
wood  possesses  the  external  appearance  we 
have  described.  When  this  application  lhas 
been  properly  made,  the  surface  will  resemble 
an  artificial  mirror  ; but  if  the  polish  becomes 
less  brilliant,  by  the  use  of  a little  cold  drawn 
linseed  oil,  the  wood  will  be  restored  to  its 
former  brilliancy. 

STAINING  IVORY,  BONE,  HORN,  6lC.  RED. 

Take  one  gallon  of  lime  water,  made  by 
pouring  on  a quantity  of  quick  lime,  so  much 


water  as  when  ])ourecl  off,  the  clear  lic[uor  will 
be  oue  gallon;  add  to  this,  half  a pound  of 
Brazil  wood,  cut  fine  ; boil  them  together,  for 
one  hour,  and  let  them  stand  twenty  four 
hours.  Then  put  in  your  ivory,  bone  or  horn, 
prepared  first  by  boiling  in  alum  water,  and 
continue  boiling,  until  sufficiently  coloured. — 
If  intended  for  crimson,  it  may  be  rendered 
-more  red,  by  dipping  it  again  in  alum  water- 

STAINING  IVORY,  BONE,  OR  HORN,  BLACK. 

Take  of  litharge  and  quick  lime,  each  an 
equal  quantity  ; put  them  into  a pan  over  a 
hot  fire,  and  pour  so  much  rain  water,  as  will 
not  boil  over  ; when  the  liquor  boils,  put  in 
your  ivory,  bone,  or  horn,  and  stir  it  well 
with  a clean  stick.  When  you  see  it  take  the 
colour,  take  your  pan  from  the  fire,  and  stir  it 
constantly  until  the  liquor  is  cold. 

BROWN  WATER  COLOUR, 

Take  the  smooth  ripe  shells  of  the  buck 
eye,  or  horse  chesnut ; reduce  them  to  a coarse 
powdeiv  and  boil  them  several  hours,  in  water  ; 
next,  filter  the  liquor  through  flannel,  and  let 
it  stand  until  the  colouring  particles  subside. 
Then  carefully  pour  off  the  clear  fluid  and  dry 
the  sediment.  Even  in  this  simple  manner, 
the  decoction  affords  a beautiful  brown  col- 
our, but  is  considerably  improved,  on  adding  a 
small  portion  of  gum  arabic. 


145 


cermax  wax  for  polishing  mahogany. 

Cut  into  small  pieces,  a quarter  of  a pound 
of  yellow  wax,  and  melting  it  in  a pipkin,  add 
one  ounce  of  well  pounded  black  resin,  boiled 
in  water,  and  afterwards  dried  ; these  being' 
both  melted,  pour  in  by  degrees  while  yet 
warm,  two  ounces  spirits  turpentine  ; when 
the  oil  is  thoroughly  mixed,  pour  it  off  into  a 
tin  or  earthern  pot,  and  keep  it  covered  for 
use.  The  method  of  applying  it,  after  well 
cleaning  and  dusting  the  furniture  is  by  spread- 
ing  a little  piece  of  it  on  a woollen  cloth,  and 
rubbing  the  wood  well  with  it  ; in  a few  days 
the  gloss  will  be  as  firm  and  as  fast  as  varnish. 

A VARNISH  FOR  COLOURED  PRTJ^TS  OR  DRAWINGS 
TO  GIVE  THEM  THE  APPEARANCE  OP  OIL 
PAINTINGS. 

Take  balsam  of  fir,  one  ounce,  and  two 
ounces  of  spirits  of  turpentine  ; mix  them  well 
together.  Before  applying  this  composition, 
the  print  or  drawing  should  be  well  sized  with 
a solution  of  fish  glue,  and  suffered  to  remain 
until  perfectly  dry  ; the  varnish  should  then 
be  laid  on  carefully  wdth  a soft  brush. 

A FINE  GREEN  PAINT,  FOR  OIL  OR  WATER. 

A durable  green  pigment  was,  for  a long 
time,  a desideratum  among  painters.  M.  Kin- 
man,  a member  of  the  Swedish  Aeademy,  at 
13 


146 


length,  discovered  and  published  the  following 
process.  Dissolve  in  separate  vessels,  a por- 
tion of  zinc  in  aquafortis,  and  a portion  of  co- 
balt, strongly  calcined  in  aqua  regia,  until  the 
liquors  are  completely  saturated.  When  both 
solutions  are  prepared,  mix  two  parts  of  the 
latter  with  one  part  of  the  former  ; then  pro- 
cure a hot  and  clarified  solution  of  potash, 
three  parts  of  which,  will  be  required  to  pre- 
cipitate the  mixture  above  described.  After  it 
has  subsided,  the  fluid  part  should  be  gently 
poured  off,  and  the  sediment  evaporated  to 
dryness,  over  a slow  fire  until  it  assumes  a 
green  colour  ; before  this  pigment  can  be  used, 
it  ought  to  be  repeatedly  washed  with  filtered 
water.  Thus  it  will  become  fit,  both  for  oil, 
and  water  colours,  as  it  is  sufficiently  fixed  to 
stand  the  effects  of  the  air  and  sun,  and  the 
inventor  has  ascertained  its  superior  durability 
by  more  than  ten  year’s  experience.  He  adds, 
that  painters  may,  by  this  composition,  com- 
bine their  yellow  and  ultramarine,  so  as  to 
form  a very  beautiful  and  permanent  green 
colour. 

OINTMENT  FOR  THE  SCAB,  &C.  IN  SHEEP. 

Rub  together  in  a mortar,  one  pound  of 
quicksilver,  and  half  a pound  of  Venice  tur- 
pentine, till  the  globules  of  the  quicksilver 
disappear;  then  add  half  a pint  of  oil  turpen- 
tine, and  four  pounds  hog’s  lard,  mixing  the 
whole  into  an  ointment.  The  process  of  ap- 


147 


plying  it,  is  as  follows  : — Begin  at  tlie  head  of 
the  sheep,  and  divide  the  wool  with  the  fingers, 
from  between  the  ears,  along  the  back,  to  the 
end  of  the  tail,  in  a furrow,  until  you  can  touch 
the  skin.  In  the  meanwhile,  this  furrow  is 
making,  a finger  slightly  dipped  in  the  oint- 
ment, is  to  be  drawn  along  the  skin  until  it 
bears  a blue  stain  on  the  skin,  and  the  adjoin- 
ing wool.  From  this  furrow,  similar  ones 
must  be  drawn  down  the  shoulder  and  thigb_s, 
to  the  legs,  as  far  as  they  are  woolly,  and  if 
the  animal  be  much  infected,  two  more  should 
be  drawn  along  each  side,  parallel  to  that  on 
the  back,  and  one  down  each  side,  between 
the  fore  and  hind  legs,  and  this  will  make  a 
permanent  cure.  We  should  recommend  on 
using  this  ointment,  that  the  animal  be  housed 
a few  days,  from  the  weather,  if  it  should 
prove  stormy  or  damp. 

SUPERIOR  RED  INK. 

On  four  ounces  of  best  carmine,  pour  two 
ounces  of  caustic  amonia, adding  twenty  grains 
of  the  whitest  and  clearest  gum  arabic  ; let 
these  remain  until  the  gum  is  entirely  dis- 
solved. This  ink,  more  expensive  than  the 
common  one,  will  continue  its  bright  red  col- 
our, for  forty  or  fifty  years. 

MOSAIC  SILVER. 

This  is  a inetallic  alloy,  in  the  form  of  silver 


148 


flakes,  used  as  a pigment  for  giving  a white 
metallic  lustre  in  imitation  of  silver  bronzing. 
It  is  prepared  in  the  following  manner.  Take 
an  ounce  and  a half  a grain  of  tin,  and  the 
same  quantity  of  bismuth,  melt  them  together, 
in  a clean  crusible,  and  stir  the  mass  repeat- 
edly, with  a clean  iron  rod  till  the  two  metals 
are  accurately  mixed  ; then  remove  the  cruci- 
ble from  the  fire,  and  when  its  contents  are 
upon  the  point  of  becoming  cold,  or  solid,  pour 
in  one  ounce  and  a half  of  quicksilver,  previ- 
ouslj'  made  warm,  stirringit  as  before,tiii  it  is 
cold,  and  becomes  a flaky  powder.  It  may  be 
used  dry,  similar  to  copper  or  gold  bronze  ; 
or  ground  with  gum  water,  on  a clean  marble 
paint  stone,  and  laid  on  with  a pencil ; either 
way,  it  must  be  well  secured  with  white  copal 
varnish;  or  may  be  ground  with  the  white  of 
an  egg,  and  alcohol  varnish  that  is  white,  and 
in  this  state,  applied  to  the  intended  work  ; 
when  dried  it  may  be  burnished  in  the  usual 
manner.  It  has  very  much  the  appearance  of 
silver. 

THE  METHOD  OP  LAYING  THE  BRONZE  GILDING^ 

The  ground  work  for  ornamental  bronzing 
is  a greenish  black,  made  of  lamp  black  and 
verdigris,  ground  in  varnish  ; and  when  a suffi- 
cient body  of  this  is  laid  on,  and  thoroughly 
dried  and  polished,  the  sizing  must  be  laid  on 
with  a fine  and  soft  brush,  and  dried  in  the 
shade,  sufficiently.  Having  thus  prepared  the 


149 


work  ready  to  receive  the  ligures,  which  must 
be  formed  by  cutting  holes  through  pieces  of 
liaper,  lay  these  patterns  on  the  work,  when 
the  varnish  is  adhesive  as  above  described,  but 
not  press  them  down  any  more  than  isl*equi- 
site  to  keep  the  paper  in  its  place  ; then  take 
a small  piece  of  deer  skin,  made  fast  to  a 
wooden  handle,  in  such  a manner,  that  the 
leather  will  spring  a little  when  used  for 
bronzing  ; several  of  these  tools  will  be  neces- 
sary of  ditFerent  sizes,  and  some  small  and 
short  camel’s  hair  pencils  will  be  necessary 
with  these  tools.  The  bronze  must  be  applied 
by  first  breathing  on  the  deer  skin  or  pencil, 
and  then  dipped  in  the  dry  bronze  and  applied 
to  the  pattern  or  figures,  beginning  at  the 
edges  ; the  camel’s  hair  pencil  may  be  used 
for  the  light  shades,  different  kinds  of  bronze 
may  be  used,  as  different  shades  are  required, 
thus  any  figure  may  be  produced  in  a variety 
of  shades,  by  ayiplyingthe  bronze  more  freely 
to  some  parts  than  others.  If  some  internal 
parts  of  the  figures,  require  to  be  more  dis- 
tinct than  others,  they  may  be  edged  with  dark 
coloured  paint.  In  some  work,  it  may  be  well 
to  extend  the  varnish  no  farther  than  the  in- 
tended figures,  in  which  case  any  projecting 
or  branching  parts  of  the  figures  may  be  drawn 
with  a camel’s  hair  pencil,  and  the  patterns 
may,  in  some  measure  be  dispensed  with  ; in 
either  case,  the  work  must  afterwards  have 
one  or  more  coats  of  copal  varnish. 

13=^ 


TO  WASH  BRASS  OR  COPPER  WITH  SILVER. 


To  half  an  ounce  of  the  strongest  nitric 
acid,  in  a phial,  add  one  ounce  of  water,  and 
one  fourth  of  an  ounce  of  good  silver,  rolled 
thin  and  cut  into  fine  chips  ; it  will  soon  be 
dissolved.  This  is  called  nitrate  of  silver,  and 
is  transparent  and  colourless.  Add  to  this,  a 
solution  of  nearly  two  drachms  of  common 
salt,  in  any  quantity  of  water  that  will  precip- 
itate the  silver  to  the  bottom  of  the  phial,  in  a 
mass.  Pour  otf  the  water  with  the  acid,  and 
add  to  the  silver,  an  equal  quantity  of  cream 
tartar  ; thus'^orming  a soft  paste,  dip  a piece 
of  soft  leather  in  this  paste,  and  rub  it  on  the 
metal  to  be  silvered;  continue  rubbing  it  till  it 
is  nearly  dry ; then  wash  it  with  water,  and 
polish,  by  rubbing  it  hard  with  a piece  of  dry 
leather.  Another  way  is,  to  add  pearlash  to 
the  nitrate  of  silver,  as  long  as  ebullition  en- 
sued; then  the  acid  is  poured  off,  and  the 
precipitate,  which  is  white,  at  first,  but  be- 
comes green,  when  dry,  is  mixed  wfith  double 
its  quantity  of  common  salt,  and  cream  of 
tartar  ; with  this  composition, being  moistened, 
the  metal  is  rubbed  over,  &c. 

TO  VARNISH  MAPS,  CHARTS,  PICTURES,  &:C. 

Take  a piece  of  fine  linen  or  cotton  cambric, 
rather  larger  than  the  map  or  picture  to  be 
varnished,  and  draw  it  straight  upon  a frame 
of  convenieHt  size,  and  confine  it  at  the  edges  j 


iol 

by  small  tacks  ; lay  a thin  coat  of  fine  rye 
flour  paste  on  this,  and  on  the  back  of  the  pa- 
per that  is  to  be  varnished  ; lay  the  paper  on 
the  cambric,  and  press  them  together  till  the 
paper  adheres  firmly  in  every  part.  When 
this  is  dry,  give  the  face  of  the  print  two  or 
three  coats  of  a strong  solution  of  gum  arabic 
in  water.  This  sizing  must  be  spread  over 
the  work  very  quickly,  and  with  as  little  brush- 
ing as  possible  ; afterwards,  give  the  work  two 
or  three  coats  of  varnish,  made  from  South 
Amei'ican  copal,  as  it  is  a colourless  varnish.’ 

TO  MAKE  BRUNSWICK  VARNISH. 

Take  one  pound  gum  asphaltum,  and  melt 
it  over  a slow  fire  ; then  take  it  from  the  fire, 
and  add  spirits  of  turpentine  in  small  quanti- 
ties, stirring  it  briskly  till  it  is  of  the  consis- 
tence of  other  varnishes  ; as  there  is  some  dan- 
ger of  its  taking  fire  when  the  spirits  of  turpen- 
tine is  added,  it  would  be  necessary  to  be  pro- 
vided with  a piece  of  wet  flannel  to  throw  over 
it,  if  that  should  happen;  when  it  is  nearly 
cold,  strain  it  through  flannel  and  bottle  it  for 
use.  The  black  varnish  is  used  for  borderfng 
picture  glasses,  and  is  the  most  perfect  black 
in  nature,  for  that  use;  it  is  water  proof,  and 
dries  quick. 

TO  MAKE  SILVER  SOLDER. 

Melt  fine  silver  two  parts,  brass  one  part  ^ 


152 


do  not  keep  them  long  in  fusion,  lest  the  brass 
fly  off  in  fumes. 

A SOLDER  FOR  GOLD. 

Melt  copper  one  part,  fine  silver  one  part, 
and  gold  two  parts;  add  a little  borax,  when 
it  is  just  melted  ; then  pour  it  out  immedi- 
ate'ly. 

MOSAIC  GOLD. 

Melt  tw-^o  ounces  of  tin,  and  mix  with  it  one 
ounce  of  quicksilver  ; when  this  is  cold,  pul- 
verize it,  and  add  one  ounce  of  salamoniac 
and  one  of  sulphur,  and  grind  them  all  togeth- 
er ; put  the  compound  in  a flask, »and  heat  it  in 
a clear  fire,  (carefully  avoiding  the  fumes,) 
till  the  mercury  subsides  and  rises  in  vapour; 
when  the  vapour  ceases  to  rise,  take  the  flask 
from  the  fire,  a flaky  gold  coloured  powder 
will  remain  in  the  flask,  which  may  be  applied 
to  ornamental  work  in  the  manner  of  gold 
bronze,  of  which  it  is  a good  imitation. 

TO  PAINT  IN  VARIOUS  SHADES  ON  WOOD  OR  CLOTH. 

Paint  the  ground  work  white,  or  yellow', 
with  oil  paint  ; when  dry,  grind  any  of  the  fol- 
lowing colours,  Prussian  blue,  burnt  terra  di 
sienna,  rose  pink,  burnt  ochre,  in  strong  vin- 
egar, or  whiskey,  perfectly  fine.  Lay  on  a 
coat  of  any  of  the  above  colours,  upon  the 


153 


or  yellow  ground;  then  take  a bladder 
that  has  been  previously  soaked  in  the  same 
kind  of  liquor,  that  the  above  colours  are 
ground  in,  and  shade  with  the  bladder,  by  ta-- 
king  it  in  one  hand  and  patting  or  stamping 
' on  the  paint ; and  wherever  the  folds  of  the 
bladder  strike  into  tlie  paint,  the  different 
shades  are  made.  When  dry,  give  the  work 
one  coat  of  boiled  oil;  and  when  dry,  polish 
lightly  with  fine  sand  paper,^  and  then  varnish.. 
This  kind  of  painting  is  made  use  of,  on  car- 
pets for  stairs,  and  floors  of  rooms,  and  the 
inside  of  wagon  and  sleigh  boxes,  and  various 
other  uses. 

TO  M.VKE  CRAYONS  OF  VARIOUS  COLOURS. 

Crayons  consist  of  various  coloured  pig- 
ments, or  paints  formed  into  sticks  or  rolls,  for 
the  purpose  of  drawing  and  shading  with  them, 
in  the  manner  of  lead  pencils  ; but  that  they 
may  be  of  a uniform  texture,  or  hardness, 
different  ingredients  and  materials  require 
some  variation,  in  the  management.  To  make 
white  crayons,  nothing  more  is  requisite,  than 
to  mix  superfine  or  refined  whiting  with  alco- 
hol, to  the  consistence  of  soft  putty  ; form  it 
into  rolls  of  a convenient  length  and  size,  and 
let  them  dry  ; or  the  whiting  may  be  mixed 
with  water,  and  a sufificient  quantity  of  burnt 
or  calcined  sulphate  of  lime,  to  give  the  cray- 
ons a sufficient  degree  of  hardness,  when  dry. 
A great  \ariety  of  elegant  light  colours  may 


be  formed  by  adding  to  the  whiting,  prepared 
as  above,  any  of  the  coloured  pigments.  The 
most  proper  colours  for  crayons  are  lamp 
black,  Prussian  biue,-burnt  amber,  burnt  terra 
di  sienna,  red  ocJire,  vermilion,  lake,  rose  pink , 
chrome  yellow,  yellow  ochre,  and  mineral 
green.  Many  other  handsome  g'reens  are 
formed  by  mixing  chrome  yellow  with  Prussian 
blue,  vaiying  the  proportions  ; and  purples 
are  produced  by  mixing  rose  pink  or  Jake, 
with  blue,  Prussian  blue,  and  lake,  being  each 
naturally  of  a binding  nature,  require  only  to 
be  ground  in  water;  but  red  ochre  and  ver- 
milion should  be  ground  in  alcohol  or  may 
have  some  quantity  of  sulphate  of  lime  mixed 
with  them.  Any  of  these  colours  may  be 
mixed  in  any  })roportion  with  whiting,' or  eacli 
other;  each  compound  having  a sufficient 
proportion  of  sulphate  of  lime  to  give  it  a prop- 
er degree  of  hardness  and  strength  when  dry. 
The  proper  length  for  crayons  is  from  two  to 
three  inches,  and  the  size  as  that  of  a tobacco 
pipe  stem.  It,  is  customary  in  making  crayons, 
to  have  at  hand  a large  piece  of  chalk  with  a 
plain  surface,  on  which  to  lay  the  crayons  as 
soon  as  they  are  rolled  ; the  chalk  absorbs  a 
part  of  the  moisture  which  makes  them  dry 
quicker,  and  without  cracking. 

TO  PAINT  IN  FIGURES  FOR  CARPETS,  OR  BORDERS. 

Take  a sheet  of  paste  board  or  strong  pa[»er, 
and  }»aint  or  draw  thereon,  with  a pencil,  any 


J55 


flower  or  figure  that  would  be  elegant  for  a bor- 
der, or  carpet  figure;  then  with  small  gouges 
and  chisels,  or  a sharp  penknife,  cut  out  the  fig- 
ure completely,  that  it  be  represented  by  aper- 
tures, cut  through  the  paper.  Lay  this  paper 
or  pattern,  on  tlie  ground,  intended  to  receive 
the  figure,  whether  a floor  or  painted  cloth  ; 
and  with  a stiff  smooth  brush,  paint  with  a 
quick  vibrative  motion,  over  the  whole  figure  ; 
then  take  up  the  paper  and  you  will  have  an 
entire  figure,  on  the  ground. 

Note.  If  a floor  is  to  be  thus  painted,  in 
imitation  of  a carpet,  the  pattern  must  be  per- 
fectly square,  and  the  figure  so  designed,  that 
when  several  of  them  come  together,  they  may 
Completely  match  each  other;  and  when  dif- 
ferent colours  are  used  in  the  same  figure,  they 
must  be  kept  a little  separate  from  each  other, 
and  wrought  with  different  brushes. 

CASE  HARDENING  IRON. 

Take  the  salt,  called  prusiate  of  pO|tash, 
which  may  be  had  of  all  the  chemists.  Pow- 
der the  salt,  and  sprinkle  upon  the  iron,  when 
in  a state  of  redness  ; it  will  be  found  to  run 
like  oil,  and  when  plunged  into  cold  water, 
will  be  found  to  be  as  hard,  and  harder  than 
iron,  case  hardened  in  the  usual  way.  The 
preparation  is  easy,  and  serves  a great  length 
of  time. 


cleanse  «;ilver  or  gold,  after  it  is 

SOLDERED. 

Make  it  just  red  hot,  and  let  it  cool  ; then 
boil  it  in  alum  water,  in  an  earthern  vessel, 
and  it  will  be  as  clean  as  when  new.  If  gold, 
boil  it  in  chamber  lye  and  salanioniac. 

THE  METHOD  OP  SOLDERING  GOLD  AND  SILVER. 

After  the  solder  is  cast  into  an  ingot,  it  would 
be  more  ready  for  use,  if  you  were  to  draw  it 
into  small  wire,  or  flat  it  between  two  rollers  ; 
Lifter  that,  cut  it  into  small  bits,  then  join  your 
work  together,  v/ith  soft  iron  wire,  and  with  a 
camel’s  hair  pencil,  dipped  in  borax  finely 
powdered,  and  well  moistened  with  water, 
touch  the  joint,  intended  to  be  soldered,  placing 
a little  solder  upon  the  joint,  apply  it  upon  a 
large  piece  of  charcoal,  and  with  a blow  pipe 
and  lamp,  blow  upon  the  flame,  until  it  melts 
the  solder  and  it  is  done. 

TO  PAINT  MAHOGANY. 

Paint  the  ground  work  a flesh  colour,  by 
grinding  white  and  red  lead  together,  in  oil  ; 
when  this  ground  is  dry,  grind  on  a stone, 
some  burnt  English  terra  disienna,  wdth  strong 
beer;  lay  on  a coat  of  this  with  a clean  brush, 
then  having  ready  provided  a number  of  pie- 
ces of  linen  or  cotton  cloth,  take  of  these 
cloths  and  shade,  through  tliis  last  colour,  ac- 


cording  to  fancy,  having  a piece  of  mahogaii/ 
lying  before  you  at  the  same  time.  When  one 
piece  of  cloth  is  much  absorbed  yv^ith  paint, 
throw  it  aside,  and  take  a clean  piece,  and  so 
on,  until  the  shades  are  finished  according  to 
fancy.  If  the  second  coat  dries  too  fast  for  the 
shading’,  the  cloths  must  be  moistened  with 
beer.  When  the  shades  are  thus  finished,  and 
nearly  dry, take  a soft  brush, and  brush  it  lightly 
over  the  work,  till  it  is  smooth  ; then  with  a 
flat  graining  tool,  dipped  in  some  beer,  col- 
oured with  terra  di  sienna,  grain  the  work  over 
the  light  shades.  When  the  work  is  dry, 
which  will  be  the  case  in  a few  minutes,  lay 
over  the  work,  a coat  of  copal  varnish,  and 
when  dry,  repeat  the  operation  till  an  even 
varnish  is  given  over  the  whole  work.  The 
operation  of  shading  must  be  done  quick,  on 
account  of  the  great  dryness  of  the  terra  di 
sienna  and  beer. 

TO  WHITEN  BRASS  OR  COPPER,  BY  BOILING. 

Put  the  brass  or  copper  into  an  earthern 
boiler,  with  some  white  tartar,  alum  and  grain 
tin,  and  boil  them  together.  The  articles  will 
soon  become  covered  with  a coating  of  tin, 
which  when  well  polished,  will  look  like  silver. 
It  is  in  this  manner  that  buttons  are  whitened. 

TO  MAKE  A COPY  OF  A PRINT  OR  PICTURE. 

Take  a sheet  of  the  finest  white  paper,  wet 
14 


158 


it  over  with  bleached  linseed  oil,  or  unprepared 
linseed  oil,  and  spirits  of  turpentine  in  equal 
quantities.  When  the  oil  is  soaked  throuoh 
the  paper,  wipe  it  off  clean  ; then  let  it  stand 
and  dry  ; otherwise,  it  would  spoil  the  printed 
picture,  by  the  soaking  through  of  the  oil. — 
Having  thus  prepared  the  paper,  lay  it  on  any 
printed  or  painted  picture,  audit  may  be  seen 
perfectly  through  ; then,  with  a black  lead 
pencil,  copy  with  ease  any  picture  on  the  oiled 
paper,  then  put  it  upon  a sheet  of  clean  white 
paper,  and  with  a little  pointed  tracer  or  bur- 
nisher, go  over  the  strokes,  drawn  upon  the 
oiled  paper,  and  the  same  will  be  very  neatly 
and  exactly  drawn  upon  the  white  paper. 

TO  TAKE  OFF  A COPY  FROM  A PRINT  OR  PICTURE. 

Make  a water  of  soap  and  alum,  with  which 
wet  a cloth  or  paper ; lay  it  either  on  a print 
or  picture,  and  pass  it  once  under  a^  rolling 
press  ; you  will  have  a very  fine  copy  of  what- 
ever you  have  laid  it  upon.  When  a rolling 
press  is  not  easily  obtained,  a pressure  in  a 
large  wooden  vice  will  answer.  - 

BEST  METHOD  OF  COPYING  A PICTURE. 

The  usual  manner  of  copying  in  landscape, 
and  which  will  answer  for  pictures  of  any  size 
is  to  rub  over  the  back  of  the  picture  with 
plumbago,  or  red  ochre ; then  lay  the  picture 
on  the  ground  that  is  to  receive  the  copy,  and 


159 


irace%ie  lines  with  a smooth  pointed  steel,  or 
piece  of  hard  wood.  The  ground  will  thus  be 
very  accurately  and  distinctly  marked,  by  the 
plumbago  or  ochre,  adhering  to  the  lines  that 
are  traced.  When  several  copies  are  to  be 
taken  from  the  same  pattern,  which  frequently 
occurs  ill  ornamental  painting,  the  outlines  of 
the  first  may  be  perforated  with  a needle,  set 
in  a handle,  so  that  being  laid  on  the  other 
grounds,  that  are  to  receive  the  copies,  arid 
brushed  over  with  a little  fine  dry  whiting  or 
red  ochre,  as  the  case  may  require,  the  whit- 
ing or  ochre  will  penetrate  the  perforated  lines 
of  the  pattern,  jfnd  thus  mark  the  ground  on 
which  it  is  laid. 

TO  MAKE  LIQUID  JAPPAN  BLACKING. 

Take  three  ounces  of  ivory  black,  two  oun- 
ces of  coarse  sugar,  one  ounce  of  sulphuric 
acid,  one  ounce  of  muriatic  acid,  one  table 
spoonful  of  sweet  oil,  and  lemon  acid,  and  one 
pint  common  vinegar.  First  mix  the  ivory 
black  and  sweet  oil  together  ; then  the  lemon 
and  sugar,  with  a little  vinegar  to  qualify  the 
blacking  ; then  add  the  sulphuric  and  muriatic 
acid,  and  mix  them  all  together.  The  sugar, 
oil,  and  vinegar  prevent  the  acids  from  injur- 
ing the  leather,  and  add  to  the  texture  of  the 
blacking. 


160 


TO  DYE  SKINS  BLUE. 

Boil  elder  berries  or  dwarf  elder,  then 
smear  the  skins  and  wash  them  therewith, 
and  wring  them  out ; then  boil  the  berries  as 
before,  in  a solution  of  alum  water,  and  wet 
the  skins  in  the  same  manner,  once  or  twice, 
dry  them,  and  they  will  be  very  blue. 

TO  DYE  HATS  GREEN  OR  ANY  OTHER  COLOUR.- 

A patent  was  granted  in  1830,  to  Robert 
Goulding  of  London,  hat  dyer,  for  his  method 
of  dyeing,  staining,  and  colouring  beaver  hats, 
green  or  any  other  colour.  The  inventor  di- 
rects the  nap  of  the  hat  to  be  raised  by  means 
of  a card,  on  the  side  intended  to  be  dyed,  and 
then  boiled  in  alum  argol.  A thin  paste  should 
be  made  of  flour  or  clay,  which  is  spread  over 
every  part  that  is  not  to  be  dyed,  and  then 
closed  ; or  the  hat  may  be  previously  pasted, 
and  instead  of  being  boiled,  it  should  only  be 
simmered  in  the  same  liquor.  As  soon  as  the 
paste  is  spread,  plates  of  copper  or  other  met- 
al, shaped  like  a common  funnel  are  fixed  over 
the  paste  to  prevent  the  dye  from  penetrating 
through.  In  this  state,  the  hat  is  immersed  in 
the  dye,  till  the  colour  is  sufficiently  fixed, 
when  it  is  taken  out,  opened  and  cleansed  from 
the  paste;  but  if  any  colouring  particles  have 
penetrated  through  the  felt,  they  may  be  re- 
moved by  rubbing  them  with  a small  quantity 
of  spirit  of  salt,  aquafortis,  &c.  The  com- 


161 


pounds  employed  in  dyeing,  are  fustic,  turnie-* 
ric,  ebony,  saifron,  alum,  argol,  indigo,  and 
vitroi,  witli  urine  or  pefirlash,  at  the  option  of 
the  dyer  ; all  which  are  used  separately,  or 
together,  according  to  the  colour  required. 

GOLD  SHELL. 

It  is  made  of  the  parings  of  leaf  gold,  and 
even  of  the  leaves  themselves,  reduced  into  an 
impalpable  powder,  by  grinding  on  a marble, 
with  honey.  After  leaving  it  to  infuse  some 
time’ in  aquafortis,  they  put  it  in  shells,  when 
it  sticks.  To  use,  they  dilute  it  with  gum  wa- 
ter or  soap  water.  It  is  used  by  the  illumina- 
tors  and  with  which,  they  write  letters  of  gold. 

TINNING  OF  IRON. 

When  iron  plates  are  to  be  tinned,  they  are 
first  scoured,  and  then  put  into -what  is  called 
a pickle,  which  is  sulphuric  acid,  diluted  with 
water.  This  dissolves  the  rust  or  oxide,  that 
was  left  after  scouring,  and  renders  the  sur- 
face perfectly  clean.  They  are  then  again 
washed  and  Scoured.  They  are  no’fv  dipped 
into  a vessel  full  of  melted  tin,  the  surface  of 
which  is  Qovered  with  fat  or  oil  to  defend  it 
from  the  action  of  the  air.  By  this  means,  the 
iron  coming  in  contact  with  the  melted  tin  in 
a perfectly  metalic  state,  it  comes  out  com- 
pletely coated.  When  a small  quantity  of  iron 
only,  is  to  be  tinned,  it  is  heated  and  the  tin 
14^ 


rubbed  on  with  a piece  of  ciotli — having  first 
sprinkled  the  iron  with  some  powdered  resin, 
the  use  of  which  is  to  reduce  the  tin  that  may 
be  oxidated.  Any  inflammable  substance,  as 
oil,  for  instance,  will  have  in  some  degree,  the 
same  effect,  which  is  owing  to  their  attraction 
for  oxygen, 

METHOD  OF  TAKING  A CAST  IN  PLASTER  FROM  A 

person’s  face. 

The  person  whose  likeness  is  required  in 
plaster,  must  iie  on  his  back,  and  the  hair 
must  be  tied  back,  so  that  none  of  it  covers 
the  face.  Into  each  nostril,  convey  a conical 
piece  of  stiff  paper,  open  at  both  ends,  to  allow 
of  breathing.  The  face  is  then  lightly  oiled 
over  in  every  part  with  sallad  oil,  to  prevent 
the  plaster  from  sticking  to  the  skin.  Procure 
some  fresh  burnt  plaster,  and  mix  it  with  wa- 
ter to  a proper  consistence  for  pouring;  then 
pour  it  by  spoonfuls,  quickly  all  oyer  the  face, 
taking  care  that  the  eyes  are  shut,  till  it  is  en- 
tirely covered,  to  the  thickness  of  a quarter  of 
an  inch.  This  substance  will  grow  sensibly 
hot,  and  in  a few  minutes  it  will  be  hard,  and 
form  a mould,  in  which  a head  of  clay  may  be 
moulded  ; and  therein  the  eyes  may  be  opened, 
and  such  other  additions  and  corrections  may 
be  made  as  are  necessary.  Then  this  second 
face  being  anointed  with  oil,  another  mould  of 
plaster  must  be  made  upon  it,  consisting  of 
two  parts,  joined  lengthwise,  along  the  ridge 


of  the  nose,  and  in  this  a cast  in  plaster  njay 
be  'taken,  which  will  be  exactly  like  the 
original. 

TO  TAKE  CASTS  FROM  MEDALS. 

In  order  to  take  copies  of  medals,  a mould 
must  first  be  made.  This  is  generally,  either 
of  plaster  of  Paris,  or  of  melted  sulphur.  Af- 
ter having  oiled  the  surface  of  the  medal,  with 
a little  cotton,  or  camel  hair  pencil,  dipped  in 
oil  of  olives  put  a hoop  of  paper  around  it, 
standing  up  above  the  surface  of  the  thickness 
you  wish  the  mould  to  be.  Then  take  some 
plaster  of  Paris,  mix  it  with  water,  to  the  con- 
sistence of  cream,  and  with  a brush,  rub  it 
over  the  surface  of  the  medal,  to  prevent  air 
holes  from  appearing;  then  immediately  after- 
ward, make  it  of  a sufiicient  thickness,  by 
pouring  on  more  plaster.  Let  it  stand  about 
half  an  hour,  and  it  will  in  that  time,  grow  so 
hard,  that  you  may  safely  take  it  off ; then 
pare  it  smooth  on  the  back  and  round  the  edge 
neatly.  It  should ‘be  dried,  if  in  cold  or  damp 
weather,  before  a brisk  fire.  If  you  cover  the 
face  of  the  mould,  with  fine  plaster,  a coarser 
sort  will  do  for  the  back,  but  no  more  plaster 
should  be  mixed  at  one  time,  than  can  be  used, 
as  it  will  soon  get  hard,  and  cannot  be  softened 
without  burning  over  again.  Sulphur  must  not 
be  poured  upon  silver,  as  this  will  tarnish  it. 

To  prepare  this  mould  for  casting  sulphur 
or  plaster  of  Paris  in;  take  half  a pint  of 


boiled  linseed  oil,  and  oil  of  turpentine  one 
ounce,  and  mix  them  together  in  a bottle  ; 
when  wanted,  pour  the  mixture  into  a plate  or 
saucer,  and  dip  the  surface  of  the  mould  into 
it  ; take  the  mould  out  again,  and  when  it  has 
sucked  in  the  oil,  dip  it  again.  Repeat  this, 
till  the  oil  begins  to  stagnate  upon  it,  then  take 
a little  cotton  wool,  rolled  up  to  prevent  the 
oil  from  sticking  to  it,  and  wipe  it  carefully 
otF.  Lay  it  in  a dry  place,  for  a day  or  two, 
if  longer,  the  better,  and  the  mould  will  ac- 
quire a very  hard  surface  from  the  effect  of 
the  oil. 

To  cast  piaster  of  Paris  in  this  mould  ; pro- 
ceed with  it  in  the  same  manner  as  above  di- 
rected, for  obtaining  the  mould  itself;  first, 
oiling  the  mould  with  olive  oil.  If  sulphur 
casts  are  required,  it  must  be  melted  in  an  iron 
ladle. 

anotheh  method  with  isinglass. 

Dissolve  isinglass  in  wqter,  over  the  fire; 
then  with  a hair  pencil,  lay  the  melted  isinglass 
over  the  medal ; and  when  you  have  covered 
it  properly,  let  it  dry.  When  it  is  hard,  raise 
the  isinglass  up  with  the  point  of  a penknife 
and  it  will  fly  off,  like  horn,  having  a sharp 
impression  of  the  medal.  The  isinglass  may 
be  made  of  any  colour  by  mixing  the  colour 
with  it,  or  you  may  breathe  on  the  concave 
side,  and  lay  gold  leaf  on  it,  which,  by  shining 
through,  will  mSike  it  appear  like  a gold  med- 


165 


ai.  But  if  you  wish  to  imitate  a copper  medaf, 
mix  a little  carmine  with  the  isinglass,  and  lay 
gold  leaf  on  as  before. 

TO  MAKE  CARMINE. 

For  the  preparation  of  carmine,  four  ounces 
of  finely  pulverized  cochineal  are  poured  into 
four,  or  six  quarts  of  rain  water,  that  has  been 
previously  boiled  in  a pewter  kettle,  and  boif 
it  for  the  space  of  six  minutes  longer,  (some 
advise  to  add  during  the  boiling  two  drachms 
of  pulverized  crystals  of  tartar,)  eight  scruples 
of  Roman  alum,  in  powder,  are  then  to  be 
added,  and  the  whole  kept  upon  the  fire  one 
minute  longer  ; as  soon  as  the  gross  powder 
has  subsided  to  the  bottom,  and  the  decoction 
becomes  clear,  the  latter  is  to  be  carefully  de- 
canted into  large  cylindrical  glasses,  covered 
over  and  kept  undisturbed,  till  a fine  powder 
is  observed  to  have  settled  at  the  bottom. — 
The  superincumbent  liquor  is  then  to  be 
poured  off  from  this  powder,  and  the  powder 
gradually  dried.  From  the  decanted  liquor, 
which  is  still  much  coloured,  the  rest  of  the 
colouring  matter  may  be  separated  by  means 
of  the  solution  of  tin,  when  it  yields  a carmine 
little  inferior  to  the  other. 

TO  MAKE  WHITE  VITROL. 

Mix  five  parts  of  sulphuric  acid  with  twenty- 
parts  pure  water;  then  add  gradually,  three 


i66 


parts  of  zinc  ; the  zinc  should  be  cut  or  broken 
into  small_  pieces,  not  exceeding  the  size  of  a 
Ivazle  nut.  When  the  ebullition  or  foamy  ap- 
pearance ceases,  the  liquor  must  be  strained, 
and  after  being  evaporated  over  a gentle  fire,  j 

and  then  placed  in  the  cool  air,  white  chrystals  | 

will  be  formed,  which  are  the  white  vitrol. — | 

The  vitrol  obtained  in  this  way  is  far  superior  1 

to  the  native  vitrol. 

GOLD  COLOUR  COPAL  VARNISH.  ,j 

Take  copal  in  powder  one  ounce,  essential  i 
oil  of  lavender  two  ounces,  essence  of  turpen-  1 
pentine  six  ounces.  Put  the  essential  oil  of 
lavender  into  a matrass  of  a proper  size,  , 

placed  on  a sand  bath,  heated  by  an  Araunds 
lamp,  or  over  a moderate  coal  fire.  Add  to 
the  oil,  while  warm,  and  at  several  times,  the  a 

copal  powder,  and  stir  the  mixture  wdth  a il 

stick  of  white  wood,  rounded  at  the  end. — I 

When  the  copal  has  entirely  disappeared,  add  | 

at  three  different  times,  the  essence  almost  in 
a state  of  ebullition,  and  keep  constantly  stir-  i 
ring  the  mixture.  When  the  solution  is  com-  h 
pleted,  the  result  will  be  a varnish  of  a gold  n 
colour. 

TO  RENDER  PAPER  FIRE  PROOF. 

P 

Whether  the  paper  be  plain,  w'ritten,  print- 
ed on,  or  even  marbled,  stained  or  painted  for 
hangings.  Dip  it  in  a strong  solution  of  alum 


water,  and  then  thoroughly  dry  it.  In  this 
state,  it  will  be  fire  proof.  Some  paper  requires 
to  imbibe  more  of  the  solution,  than  by  a sin- 
gle immersion,  in  which  case,  the  dipping  and 
drying  must  be  repeated  till  it  becomes  fully 
saturated.  Neither  the  colour  nor  quality  of 
the  paper,  will  be  in  the  least  affected  by  this 
process. 

puller’s  purifier  for  woollen  cloth. 

Dry,  pulverize,  and  sift  the  following  ingre- 
dients. Six  pounds  of  fuller’s  earth,  one 
pound  of  pipe  clay,  four  ounces  of  French 
chalk.  Make- a paste  of  the  above,  w ith  the 
following: — one  ounce  of  rectified  oil  of  tur- 
pentine, two  ounces  of  spirits  of  wine,  one  and 
a half  pounds  of  melted  soap.  Make  up  the 
compound,  into  six  penny  or  shilling  cakes, 
for  sale.  These  cakes  are  to  be  kept  in  w'ater, 
or  in  small  wood  boxes 

TO  OBTAIN  A DYEING  MATTER  FROM  POTATOE 
TOPS. 

Cut  off  the  tops  when  they  are  in  flow6r, 
and  extract  the  juice,  by  bruising  and  pressing 
it.  Linen  or  woollen,  imbibed  in  this  liquor, 
forty  eight  hours,  will  take  a brilliant  colour. 
If  the  cloth  be  afterwards  plunged  in  a blue 
dye,  it  will  acquire  a permanent  green  coluur. 


MORDANT  VARNISH  FOR  GILDHNG. 

Take  of  gum  mastick  one  ounce,  of  gum 
saridarack  one  ounce,  of  gum  guttae  half  an 
ounce,  of  turpentine  a quarter  of  an  ounce,  of 
essence  of  turpentine  six  ounces.  Some  ar- 
tists, who  make  use  of  mordants,  substitute  for 
the  use  of  turpentine,  an  ounce  of  the  essence 
of  lavender.  The  application  of  them,  how- 
ever, is  confined  chiefly  to  gold.  When  it  is 
required  to  fill  up  a design  with  gold  leaf,  on 
any  ground  whatever,  the  composition,  which 
is  to  serve  as  the  means  of  union  between  the 
metal  and  ground,  ought  neither  to  be  too 
thick,  nor  too  fluid  ; it  will  be  requisite  that 
the  composition  should  not  dry  till  the  artist 
has  completed  his  design. 

JAPPAN  BLUE. 

Take  gum  water  what  quantity  you  please, 
and  white  lead,  a sufficient  quantity,  grind 
these  well  on  a porphory  ; then  take  isinglass 
size,  what  quantity  you  please,  of  the  finest 
and  best  smalt,  a sufficient  quantity ; mix 
them  well  ; to  which  add  of  your  white  lead 
before  ground,  so  much  as  may  give  it  a suffi- 
cient body  ; mix  all  these  together  to  the  con- 
sistence of  a paiiit. 


i69 


TO  REMOVE  FRECKLES  FROM  THE  FACE. 

Put  into  a phial  any  desired  quantity  of  lem- 
on juice,  and  mix  with  the  juice  a small  quan- 
tity of  powdered  borax,  and  a little  refined 
sugar.  Let  it  stand  for  eight  days,  and  then 
apply  it  frequently,  to  the  freckled  part,  by 
means  of  a sponge  or  soft  rag  ; by  this  appli- 
cation, the  freckles  will  all  be  removed  in  a 
short  time. 


ERRATA. 

Page 

36,  in  the  8ili  and  9th  lines  from  the  bottom,  for  “ it  is  fit  for 
use”,  Ye■A(^,  filter  for  use. 

49,  ’.n  the  10th  line  from  the  lop,  for  soon,”  read,  even. 

52,  in  the  1 1 th  line  from  top,  for  ''  pricked”,  read,  picked. 

53,  in  the  12lh  line  from  the  bottom,  for  “ appertain,”  read, 
appear. 

63,  in  the  15ih  line  from  the  top,  for  “requires,  read,  ac- 
quires. 


15 


TABLE  OF  CONTENTS. 


Page 

Patent  leather,  - - - ' - 5 

Directions  for  finishing  patent  leather,  - 6 

Varnish  for  finishing  patent  leather  and  cloth,  8 
Fat  oil  varnish,  - _ _ - 9 

Oil  varnish,  - - - - 10 

Black  varnishes  for  coaches  and  iron,  - 10 

Varnish  for  rendering  silk,  water  and  air-tight,  J 1 
To  make  cloth  water  and  air  tight,  - 12 

Essential  oil  varnish,  - - - 12 

White  elastic  varnish,  - - - 12 

Varnish  for  tin,  - - - - 13 

Varnish  for  leather,  - - - 13 

Varnish  for  boots  and  shoes,  - - 13 

Water  proof  boots  and  shoes,  - - 14 

Fresco  painting,  - - - 14 

Principal  colours  from  which  all  the  tints  are 
made,  and  their  qualities  in  painting  with 
oil,  - - - - - 18 

White  satin,  _ _ _ - 20 

Blue  satin,  _ - _ . 22 

Velvet,  . - - _ 23 

Pink  colour,  - - - - 24 

Principal  tints  necessary  for  painting,  - 25 

Method  of  prepaiing  green  wood  so  that  it  Avill 

not  split  in  turning*,  _ _ - 27 

Method  of  giving  to  plumb  tree  the  colour  of 

Brazil  wood,  - - - 28 

A fine  black  colour  for  Avood,  - - 28 

Dyeing  AAmod  Mahogany  colour,  - - 2S 


17  J 

Hose  wood  stain,  - _ . - 29 

Another  very  beautiful  Mahogany  stain,  - 30 

To  make  a beautiful  soft  glass  for  jewelry,  30 

Solder  for  tin,  - - - - 31 

Another  solder  for  tin,  - - - 31 

To  stain  wood  yellow,  _ - - 31 

To  stain  wood  red,  - - - 31 

To  stain  wood  blue,  - - - 32 

To  stain  wood  purple,  - - - 32 

Vaneering,  _ ^ ^ 33 

Litmus  blue,  - - _ _ 34 

A varnish  for  brass,  to  give  the  appearance  of 

gold,  - - - - 35 

A good  white  varnish,  - - - 36 

Another  white  varnish,  - - - 36 

Spirit  varnishes,  - - - 33 

To  dissolve  gum  copal  in  spirits  of  wine,  - 37 

Varnish  for  wainscot,  cane  chairs,  &c.  - 37 

A varnish  for  toilet  boxes,  cases,  fans,  &c,  38 

To  stain  w'ood  green,  - - - 38- 

Varnish  for  violins  and  other  musical  instru- 
ments, - - - - 33 

A varnish  for  employing  vermillion  for- 

painting  equipages,  &c.  - - 38 

Seed  lac  varnish,  - - - - 39 

Shellac  varnish,  - - - - 39 

White  varnish  for  clock  faces,  - - 39 

Cement  for  glass  grinders,  - - 40 

To  solder  or  cement  broken  glass,  • - 41 

Cement  for  spar  and  other  stones,  - 41 

Blood  cement,  - - - - 42 

Flour  paste,  - - - - 42 

Jeweller’s  cement,  for  setting  precious  stones 

when  pieces  are  broken  off  by  accident,  43 
Turkey  cement  for  joining  glass,  metals,  &c.  43 

To  cement  broken  china,  glass,  &c.,  - 43 

Cement  useful  for  turners,  - - 44 

A strong  cemci.t.  - - - 44 


17'J 

Shellac  cement,  . - - - 43 

Cement  that  will  stand  against  boiling  water 

and  the  pressure  of  steam,  - - 45 

Another  ■ cement  that  will  stand  the  action  of 

boiling  water  and  steam,  - - 47 

Japanese  cement,  - - - 48 

Cement  for  stopping  holes  or  cracks  in  iron,  48 
Cement,^  _ 48 

Jappanning,  - - - - 49 

Method  of  painting  jappan  work,  - - 59 

Manner  of  varnishing  jappan  work,  - 51 

Jappanner’s  gilding,  - - - 55 

To  write  on  paper  with  letters  of  gold,  - 56 

Oil  gilding,  - - _ _ 56. 

Burnished  gilding,  . _ . 57 

An  improved  process  for  gilding  iron  or  steel,  58 
Grecian  Gilding,  - - - - 59 

To  make  shell  gold,  - - - 69 

Instruments  necessary  for  gilding,  - 69 

Mordants  for  colouring,  - - - 69 

Murio  sulphate  of  tin,  - - -<  64 

Nitro  muriate  of  tin  more  particularly 

described,  - - - - 64 

A Turkish  blue,  - - - - 65 

A handsome  green,  - - - 66 

Mixture  of  blue  and  yellow.  - - 67 

Mixture  of  blue  and  red,  - - - 67 

Mixtures  of  yellow  and  red,  - - 68 

Mixtures  of  black  witli  other  colours,  - 68 

Turkey  red,  - - - - 69 

Dyeing  blue,  _ - _ - 69 

Saxon  blue,  _ _ - - 70 

Blue  for  colouring  silk,  - - - 71 

Dark  blue  for  silk,  . - - - 72 

Violet  blue,  - - - - 74 

A handsome  blue,  - - - 75 

Light  blue  for  silk,  - - _ 77 

Black,  . -■  _ _ - - 77 


Black  on  silk,  - - - 7B 

Yellow, 80 

A handsome  yellow,  - - - 82 

A citron  yellow,  - - - - 84 

A citron  yellow  which  may  be  heightened  to 

a handsome  gold  tint,  - - 85 

A high  coloured  crimson,  - - 85 

A handsome  crimson,  - - - 86 

A deep  red,  _ _ _ _ 88 

A real  brown,  _ _ _ _ 89 

A real  crimson  in  another  way,  - - 90 

A handsome  red,  - - - - 91 

To  colour  silk  with  quercitron,  in  another 

way. — A citron  yellow,  - - 93 

Colours  used  either  in  water  or  oil  for 

drawing  or  painting — red  lakes,  - 95 

Carmine,  -----  95 

Florentine  lake,  - - - - 96 

Madder  lake,  - - - - 96  ' 

Rose  lake,  _ _ - - 96 

Vermillion,  _ - - - 97 

Red  lead,  - . - - 97 

India  red,  _ - _ _ 97 

Venetian  red,  - ^ - - 98 

Spanish  browoj  - _ - - 98 

Light  red,  or  burnt  ochre,  - - 98 

Red  chalk,  - - - ' - 98 

Burnt  terra  di  sienna,  - ^ - 99 

Blue,  . - 99 

Ultramarine  ashes,  ^ ^ - 99 

Prussian  blue,  - - - - 99 

Verditer,  - . - . ^ 100 

Indigo,  -----  101 

Smalt,  , - - - - 101 

Yellows — Indian  yellow,  - - - 102 

King’s  yellow,  - - - - 102 

Naples  yellow,  - - - . 102 

Yellow  ochre,  - - - - 102 

15* 


f74 


J/utch  pink,  _ - . 

- 

103 

Gamboge, 

103 

Massicot,  _ _ - 

- 

103 

Gallstones,  _ . . 

- 

103 

Raw  terra  di  sienna, 

. 

103 

Orange  lake,  - - - 

Brown  pink,  _ - _ 

- 

104 

- 

104 

Green,  _ _ . 

_ 

104 

Sap  green,  _ _ _ 

- 

104 

Verdigris,  _ . _ 

- 

104 

Brown  colours. 

-• 

105 

Cologne  earth,  - - - 

- 

105 

Raw  umbre. 

- 

106 

Burnt  umbre,  - - - 

- 

106 

Asphaltum,  - _ - 

- 

106 

White,  - - - - 

- 

106 

White  lead,  - _ . 

- 

106- 

Pure  carbonate  of  lime, 

_ 

107 

Black,  - - - - 

_ 

107 

Ivory  black. 

- 

107 

To  make  copal  varnish, 

-- 

108 

To  make  Chinese  varnish,  . 

- 

109 

To  crystalize  tin, 

Tojappan  crystalized  tin 

- 

110 

- 

111 

A transparent  green  paint  invented  by 
Scheele  of  Sweden, 

115 

To  bleach  linseed  oil, 

- 

116 

To  boil  oil  for  painting,  and  the  preparation  of 
gold  size,  - - « _ 

117 

Shammy,  or  chamois  leather, 

- - 

118 

Black  ink, 

- 

121 

Red  ink,  _ _ _ 

- 

121 

Sympathetic  ink, 

121 

To  make  a fine  liquid  blue  for  painting  on  vel- 
vet and  paper  _ _ _ 

122 

Muriate  of  gold, 

- 

122 

Teeth  and  age  of  the  horse, 

- 

123 

To  stain  paper  of  any  colour. 

- ' 

124 

116 


Lftcquers,  - - - - 125 

Lacquer  varnish,  - - . 120 

Another  lacquer  varnish  - - 127 

V arnish  for  plaster  of  Paris  to  give  the  ap- 
pearance of  marble,  - - 127 

Enamelling’,  - - - - 128 

Method  of  painting-  in  enamel,  - 129 

Enchasing,  inchasing,  or  chasing,  - 130 

Mezzotinto  engraving,  or  scraping,  - 131 

Etching  on  glass,  - . - 133 

Another  way,  - - - 134 

Blanching,  _ _ - - 134 

Marbling,  - _ . > 135 

To  stop  cracks  in  stoves,  - - 135 

Tan— Tanning,  - - - 13G 

To  soften  dry  hides,  - - - 140 

White  leather,  > - - _ 140 

To  sotten  steel  for  engraving,  - - 140 

Spirit  of  soap  for  shaving,  - - 141 

Prussian  blue  as  recommended  by  Dr.  John 

Pennington,  - - _ 141 

Gold  lacquer,  . - - - 142 

Silver  lacquer,  - - - - 142 

Smith’s  best  black  ink,  - - - 142 

To  make  mahogany,  - - - 143 

Staining  ivory,  bone,  horn,  &c.  red,  - 143 

Staining  ivory,  bone,  horn,  &c.  black,  - 144 

Brown  water  colour,  ...  £44 

German  wax  fcr  ptdishing  mahogany,  - 145 

Varnish  for  coloured  prints  or  drawings,  to 

give  them  the  appearance  of  oil  paintings,  145 
Fine  green  paint,  for  oil  or  water,  . 145 

Ointment  for  the  scab,  &c.  in  sheep,  - 146 

Superior  red  ink,  - - - 147 

Mosaic  silver,  . - - - £47 

Method  of  laying  bronze  guilding,  - 148 

To  wash  brass  or  copper  with  silver,  - 150 

To  varnish  maps,  charts,  and  pictures,  - liO 


i 


make  Brunswick  varnish,  . - - 151  i 

To  make  silver  solder,  - - 151 

Solder  for  gold,  - - - 152  : 

Mosaic  gold,  - - - - 152 

To  paint  in  various  shades  on  wood  and  cloth,  152  j 
To  make  crayons  of  various  colours,  - 153 

To  paint  in  figures  for  carpets,  or  borders,  154  , 

Case  hardening  iron,  - _ _ 1^5 

To  cleanse  silver  or  gold  after  it  is  solciered,  156 
The  method  of  soldering  gold  and  silver,  156  ‘ 

To  paint  mahogany,  - - - 156  ; 

To  whiten  brass  or  copper  by  boiling,  - 157 

To  make  a copy  of  a print  or  picture,  - 157 

To  take  off  a copy  from  a print  or  picture,  158 

Best  method  of  copying  a picture,  - 158 

To  make  liquid  jappan  blacking,  - 159 

To  dye  skins  blue,  _ _ _ 2(50 

To  dye  hats  green  or  any  other  Colour,  - 160  ' 

Gold  shell,  - - - - 161 

Tinning  of  iron  - - - - 161 

Method  of  taking  a cast  in  plaster  from  a per- 
son’s face,  - - - ■ - 162 

To  take  casts  from  medals,  - - 163 

Another  method  with  isinglass,  - 164 

To  make  carmine,  - - - 165 

To  make  white  vitrol,  - - - 165 

Gold  colour  copal  varnish,  - - 166 

To  render  paper  fire  proof,  - - 166 

Fuller’s  purifier  for  woollen  cloth,  - 167 

To  obtain  a dyeing  matter  from  potato  tops,  1 67 
Mordant  varnish  for  gilding,  - « 168 

Jappan  blue,  - - - - 168 

To  remove  freckles  from  the  face  - 169 


THE  END. 


•r 


IHE  GETTY  CENTER 
LIBRARY 


